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The stimulus for this painting was a trip to India in 2014 and the young women seen at the Qutub Minaret in Delhi, Amber Fort in Jaipur and the Taj Mahal in Agra. Their anarkali dresses were so wonderfully colourful and their demeanour so naturally fresh.

Acrylic on superior rolled canvas board, this painting has a base coat of burnt orange or raw sienna and consists of further opaque pigments with subsequent layers of colour washes. This layering of the work gives it texture and controlled vibrance.
Finally, the painting has a coat of acrylic UV varnish, this not only protects the painting but has a unifying effect. The work only needs framing to to make it ready to hang.
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Yellow Anarkali Painting

Nicholas Robertson

United Kingdom

Painting, Acrylic on Canvas

Size: 20.1 W x 29.9 H x 0.2 D in

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Originally listed for $1,140
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330 Views
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About The Artwork

The stimulus for this painting was a trip to India in 2014 and the young women seen at the Qutub Minaret in Delhi, Amber Fort in Jaipur and the Taj Mahal in Agra. Their anarkali dresses were so wonderfully colourful and their demeanour so naturally fresh. Acrylic on superior rolled canvas board, this painting has a base coat of burnt orange or raw sienna and consists of further opaque pigments with subsequent layers of colour washes. This layering of the work gives it texture and controlled vibrance. Finally, the painting has a coat of acrylic UV varnish, this not only protects the painting but has a unifying effect. The work only needs framing to to make it ready to hang.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:20.1 W x 29.9 H x 0.2 D in

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Born in Gloucester and living and working in Cheltenham UK. I like to work in acrylic because it allows me to experiment, making changes quickly is paramount when wishing to explore your options. I suspect like most figurative artists I find drawing and painting the human form wholly embedded with human behaviour. The desire to secure more than a representation of a persons movement, the spilling of light over contours or the various other physical facets is the reason we continue to make paintings. To recast emotions in texture, colour and pattern and to make it still, perhaps this is a measure of a successful painting. I have sold work around the world, to individuals and organisations and have produced award winning public art (usually with a colleague) for various institutions.

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