Tuli Research Centre for India Studies in New Delhi, India.
The central figures portrayed in this painting is Peshwa Baji Rao I, the 18th-century general and the statesman of the Maratha Empire and his wife begum Mastani, the daughter of Maharaja Chhatrasal of Bundelkhand. A theatrical perspective on a traditional portraiture which were usually a side view most notable in the miniature and Maratha paintings. The couple is staged in a romantic arrangement while the aesthetics of the backdrop drawing inspiration from early cinema stills with western academic art. Peshwa is in an Maratha court attire along with royal jewellery while Mastani’s visual features represent her Rajput and Persian heritage. But behind the couple is a man lurking in the dark with suspicion almost representing the society who questioned the interfaith union of the couple. Baburao painter born in 1890 was the founder of Maharashtra Film company known for his historical realism and dramatic portraiture and a significant figure in the Indian visual culture. Born to a family of artist Baburao was a self taught artist excelling both in painting and sculptures. He was especially inspired by Dada saheb Phalke’s Raja Harishchandra in 1913 which piqued his interest in the cinema world eventually directing and starring in few films. He continued painting until his death on 16 January 1954.
The figures have stern solid faces, much like Mughal portraiture, except since they face the front, it is far more imposing and strong. Their faces give the sentiment of a powerful, strong couple. The dark hues of the painting seem to almost feel like the effect that would be produced on film, potentially reflecting Baburao's film career, as it seems reminiscent of a movie set.
