Abstract
This essay considers the weight and bearing of the idea of precision and the notion of the virtual in relation to commercial artists travelling to India in the late eighteenth and early nineteenth centuries. Taking as its focus the work of Balthazar Solvyns, my discussion considers the fictional and the factual as relayed by the aesthetic of precision. The aesthetic of precision is by its very nature precarious: to be precarious was to carry something of the virtual and a kind of fictionality which being so performative in its documentary aspect carried its own risk – especially when confronted with so-called Company School/Mughal artists who were highly critical of such colonial practice.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
