Who painted Hurduwar, where the Ganges enters the plains of Hindoostan?

Hurduwar, where the Ganges enters the plains of Hindoostan was painted by William Daniell in 1789.

Where can I see Hurduwar, where the Ganges enters the plains of Hindoostan?

Hurduwar, where the Ganges enters the plains of Hindoostan is held by Victoria and Albert Museum.

What movement is Hurduwar, where the Ganges enters the plains of Hindoostan?

Hurduwar, where the Ganges enters the plains of Hindoostan is associated with Orientalism.

Can I buy a print of Hurduwar, where the Ganges enters the plains of Hindoostan?

Museum-quality prints of Hurduwar, where the Ganges enters the plains of Hindoostan are available made-to-order from Artifact World Gallery.

Artwork

Hurduwar, where the Ganges enters the plains of Hindoostan

William Daniell , 1789

Hurduwar, where the Ganges enters the plains of Hindoostan is a watercolor work on paper by the Orientalist artist William Daniell. It dates from 1789 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Created in 1789, this watercolour by British artist William Daniell records the locale known as Hurduwar, the point where the Ganges River leaves its mountainous course and spreads onto the plains of northern India. The work bears its title in the lower margin, identifying the site and situating the viewer within a specific geographic moment of the river’s journey.

Subject & Meaning

The composition captures a tranquil riverside tableau: a white‑washed building with arched windows rests close to the water, a modest boat drifts nearby, and a horse‑drawn cart with pedestrians traverses a sandy bank. Distant hills loom behind, while a flag atop a far tower signals human presence beyond the natural landscape, suggesting a harmonious coexistence of commerce, travel, and environment at a pivotal riverine juncture.

Technique & Style

Daniell employs delicate washes of pigment to render atmospheric light and subtle shadow, allowing forms to emerge softly from the paper.

Daniell employs delicate washes of pigment to render atmospheric light and subtle shadow, allowing forms to emerge softly from the paper. The muted palette and careful gradations convey a calm, observational tone characteristic of late‑eighteenth‑century British topographical watercolours, emphasizing clarity of detail over dramatic contrast while still providing a sense of depth through layered washes.

History & Provenance

The piece originates from Daniell’s extensive series of Indian sketches produced during his travels in the late 1700s, a period when British artists documented the subcontinent for both scientific and aesthetic purposes. Though the precise ownership trail is not fully recorded, the work has been retained within collections of British colonial art, reflecting its role as a visual record of early British encounters with the Indian landscape.