Who painted Yasoda and Krishna?

Yasoda and Krishna was painted by Unknown in 1890.

Where can I see Yasoda and Krishna?

Yasoda and Krishna is held by Cleveland Museum of Art.

What movement is Yasoda and Krishna?

Yasoda and Krishna is associated with Bengal School.

Artwork

Yasoda and Krishna

Unknown , 1890

Yasoda and Krishna is an unspecified painting by the Bengal School artist Unknown. It dates from 1890 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 2003.159
Credit line: Gift of William E. Ward in memory of his wife, Evelyn Svec Ward

About this work

Overview

The work titled "Yasoda and Krishna" is a painted image on a sheet of aged paper. It depicts a woman dressed in dark blue and red garments edged with gold, holding a yellow fan, alongside a small child reaching toward her. The composition is set against a plain background, allowing the vivid hues to dominate the visual field.

Subject & Meaning

The figures represent Yasoda, a maternal figure in Hindu tradition, and the infant Krishna, a central deity in Indian mythology. The interaction, Yasoda’s protective stance and the child's eager gesture, conveys themes of devotion, nurturing, and divine playfulness that are common in devotional narratives.

Technique & Style

Executed in a folk painting tradition associated with the Kalighat region, the piece employs bold, flat colors and simplified forms. The brushwork appears loose and slightly uneven, suggesting frequent handling. Gold trim on the clothing and the stark contrast between pigments and the weathered paper surface are characteristic of the style's emphasis on decorative detail.

History & Provenance

The painting originates from the 19th‑century Kalighat school of Bengal, a period when itinerant artists produced devotional images for a growing market. The work’s worn condition indicates extensive display or collection, though specific ownership records are not documented.

Context

Kalighat paintings emerged near the famous Kali temple in Kolkata, reflecting both religious subjects and the tastes of urban patrons. This piece aligns with that tradition, illustrating how popular devotional iconography was rendered in an accessible, mass‑produced format for everyday viewers.