Original Indian Landscape Paintings and En Plein Air Art
I capture the atmosphere of India's historic forts and serene ghats through on-location painting, bringing the raw energy of these places onto canvas.
The serene Pushkar ghat at sunset, painted on location. My goal was to capture the warm light and the peaceful atmosphere of the evening.
With my two paintings from the National Artist camp in Ajmer. The top one is the Pushkar ghat, and the one below is another on location work.
Another on location painting from Pushkar, this time showing the temple architecture against the water. The wooden frame gives it a classic feel.
The full composition of my Pushkar ghat painting. I included details like the birds, the floating diya, and a lone monkey to bring the scene to life.
A detail from the Pushkar painting, showing the gentle ripples in the water and the swans swimming peacefully.
Another detail, focusing on the stone steps of the ghat and a monkey sitting quietly, observing the scene.
Me at work on the Pushkar ghat painting. Painting on location allows me to directly observe and react to the changing light and colours.
Holding the finished painting at the exact spot where it was created. It’s a great way to see how the painted version compares to the real view.
A video montage from the Pushkar art camp, showing the artists at work and the lively atmosphere of the ghats.
A small watercolour study of the ghats of Varanasi. The warm, hazy light of the city is something I always try to capture in my paintings.
About Landscapes of India
When I paint a landscape, I prefer to work en plein air—physically standing at the location to capture the light and atmosphere. This direct observation helps me translate the raw texture of the fort walls or the humidity of a riverside ghat onto the canvas in a way that photographs often miss.
My approach to landscape painting is rooted in direct experience. Whether it is the rugged, imposing structure of Sinhagad Fort or the soft, hazy light over the ghats of Varanasi, I believe the best way to capture the spirit of a place is to be there.
I work primarily in two mediums for these pieces. Watercolour is my choice for capturing the movement of water, the transparency of morning light, and the fleeting moments of sunset. The pigments I use, particularly with the layering techniques I have developed, allow for a depth that brings the architecture to life on paper. For subjects that require more weight and texture, such as the ancient stone facades of our historic forts, I use oils on canvas. The heavy brushwork allows me to build up the surface, giving the stone a physical, tactile quality that feels true to the site.
How I Approach Commissions
- Consultation: We discuss the specific location or reference photos. If it is a place I have visited, I can incorporate my own sketches and memory.
- Medium Selection: We decide between the fluidity of watercolour or the richness of oils based on the mood you want to evoke.
- Process: I create a composition that focuses on the interplay of light and shadow, ensuring the final piece feels like an authentic window into that specific Indian landscape.
Each painting is created on archival-grade surfaces—100% Cotton Rag paper for watercolours or primed canvas for oils—to ensure the work lasts for generations. If you have a place that holds a special memory for you, I am happy to discuss bringing it to life on canvas.
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