J. A. Lalkaka began his artistic training at the J. J. School of Art in Bombay (Mumbai) in 1903. In 1908, he arrived in London after being sent to Europe by his grandfather Sir Navroji Vakil to complete his artistic education. Lalkaka attended the St John’s Wood and Westminster Art Schools, both seen as preparatory institutions to gain admittance to the Royal Academy Schools. He also spent some time in Paris. In 1913, Lalkaka returned to India and set up his own studio in Bombay. He painted mainly portraits which were popular with the governing elite. Lalkaka’s work was supported by Viceroys Irwin and Willingdon in particular.

In 1929, it was decided that the Viceroy’s Palace (now the Rashrapati Bhavan) in New Delhi should be decorated with paintings and an exhibition was held of 1,500 works of art by 200 artists. Edwin Lutyens, the architect, in consultation with the Viceroy chose Lalkaka from this exhibition, along with Atul Bose, to travel to England to paint royal portraits. Lalkaka’s portrait of George V was particularly prized. He returned to India in 1931 and was honoured by a reception given by the Art Society of India. He was closely associated with the J.J. School of Art and became the first Indian to be appointed its Vice-President in 1931. His work can now be found in galleries in Delhi and Mumbai.

Mukul Dey was an artist, who specialized in dry-point etching. He studied at Rabindranath Tagore's school at Santiniketan. From 1911, his paintings appeared in monthly magazines in Calcutta and then in 1913-14, the Indian Society of Oriental Art sent his paintings to Paris, London and other European cities for exhibition with the works of other students of Abanindranath Tagore. W. W. Pearson inspired Dey to work with dry point by giving him copper plates to scratch with a steel pointed needle and then sent these plates to London to be printed. In 1916, Dey accompanied Rabindranath Tagore on his tour of Japan and the USA. In 1919, Dey went to the Ajanta and Bagh caves; his experiences were published in My Pilgrimages to Ajanta and Bagh.

In 1920, Dey went to London, and was received by his old friend W. W. Pearson. Dey worked in Muirhead Bone's studio until he joined the Slade School of Art in London. In his holidays he worked in the King Alfred co-educational school in North London. In 1922, Dey was the first Indian to receive the Diploma in Mural Painting from Royal College of Art. Dey regularly exhibited in London, and met many prominent British figures in the art and literary world such as Thomas Sturge Moore, Edwin Lutyens, Laurence Binyon and Selwyn Image. His work was exhibited in the Royal Academy in London in 1923 and he decorated a portion of the Indian Pavilion at the Wembley British Empire Exhibition in 1924.

In 1927, Dey returned to India. In 1928, he became the first Indian Principal of the Government School of Art and Craft in Calcutta, and remained in that post until 1943. He continued to tour his work and remain an influential figure in India until his death in 1989.

Artist

Bhai Ram Singh was an artisan from Amritsar who designed and worked on the Durbar Room at Osborne House in the 1890s.

Born in the Punjab in 1857, Ram Singh was educated in the Mission School in Amritsar. Ram Singh came to the notice of Lockwood Kipling, the father of Rudyard, in India. Kipling was Principal and Director of the Mayo School of Industrial Arts in Lahore and invited by Queen Victoria to design a banqueting hall for Osborne House. Kipling took Ram Singh to England to design this room for the Queen in 1891. Ram Singh stayed in England for three years and was principal craftsman on the job. He was then commissioned to design an 'Indian Extension' for the Duke of Connaught at Bagshot Park, Surrey. After his return to India, he became Principal of Mayo School and received various honours for his work. He died in 1916.

William Rothenstein was a renowned artist and art administrator, who was interested in various forms and origins of art.

On 4 February 1910, Sir George Birdwood chaired a lecture given by E. B. Havell to the Royal Society of Arts and commented that India had no fine arts. Outraged, Rothenstein, with 12 other signatories (including T. W. Rolleston and George Russell (AE)), wrote a letter to The Times, published on 28 February 1910, to dispute the idea that India had no fine art. Subsequently, Havell and Rothenstein were instrumental in the foundation of the India Society, which was based in London to promote Indian art.

Rothenstein travelled to India in 1910 with Christiana Herringham and met Rabindranath Tagore in Calcutta. When Tagore visited London in 1912, Rothenstein introduced him to literary circles. Tagore was often found at Rothenstein's house in Hampstead, North London. Rothenstein urged the India Society to publish Tagore's Gitanjali in 1912, which won Tagore the Nobel Prize for Literature in 1913.

Rothenstein went to the Western Front in 1917 as Official War Artist. With these duties, he was unable to comply with the request from Kedar Nath Das Gupta and Laurence Binyon to decorate the scenery for their production of Sakuntala in 1919. Rothenstein remained an active member of the India Society in his lifetime, Indian art was an influence on his own paintings, and he was a key figure at memorial meetings for Tagore in 1941. He was knighted in 1931 and died in 1945.

Born in Old Trafford in 1882, Sylvia Pankhurst was influenced in her youth by the political activism of her parents, Emmeline and Richard Marsden Pankhurst, who were members of the Fabian Society and the Independent Labour Party and helped establish the Women’s Franchise League. Wanting to become an artist, she attended Manchester Art School and, from 1904, Chelsea’s Royal College of Art. Her work, which combined socialist realism and Pre-Raphaelite allegory, was influenced by her art teacher, Walter Crane. Following Pankhurst’s arrival in London, her parents’ friend, Keir Hardie, became an important figure in her life. On his return from visiting India in 1909, he discussed with her his findings and opinions. Increasingly involved with the Women’s Social and Political Union, Pankhurst devoted her energies from 1906 onward to fighting for women’s suffrage, becoming known for her militancy. Using journalism to fund her activism, she wrote a series of articles on women’s labour for the WSPU newspaper, Votes for Women, went to America on a lecture tour, and in 1911 published The Suffragette on the movement’s history.

A committed socialist, Pankhurst became involved with working women in London’s East End, and supported George Lansbury MP when he stood for re-election in Bromley-by-Bow on a women’s suffrage ticket. In 1913 she established the militant East London Federation of Suffragettes, which supported trade union struggles including the Dublin lock-out. Pankhurst founded the Woman’s Dreadnought in 1914, later renamed the Workers' Dreadnought, through which she came into contact with Rajani Palme Dutt, who contributed articles to the paper from 1917 until her split with the Communist Party in 1921.

During the First World War she led anti-war campaigns, continued her social welfare work, and began to support revolutionary movements. She met Lenin after the war and, in 1920, helped form the British Communist Party from which she was later expelled. In 1924 she moved to Red Cottage in Woodford Green, where she was joined by Silvio Erasmus Corio, an Italian exile who had briefly converted to Islam in the early 1920s. At this time she wrote India and the Earthly Paradise, a ‘romantic Communist’ contribution to Indian nationalism which ‘may have been the last result of her contacts with fringe elements of that movement’ and was published in Bombay in 1926 (Romero, p. 179). Pankhurst named R. N. Chaudry as a source for the book. It is possible that the seminars she organized with Nora Smythe while living at Red Cottage brought her into contact with ‘like-minded Indians’ (Romero, p. 179). Pankhurst’s path crossed with that of Dhanvanthi Rama Rau a little later, in 1929, when Rama Rau gave an impassioned speech disputing the right of British women ignorant of the realities of India to organize a Conference on Indian Social Evils (Rama Rau, pp. 168-172). Rama Rau recalls being ‘deeply touched’ by remarks Pankhurst made in response (Rama Rau, p. 172).

She gave birth to her only child, Richard Keir Pethick, in 1927. In the 1930s Pankhurst committed herself to promoting peace, fighting fascism, assisting Jewish refugees and supporting Spanish republicans. Ethiopian independence became a consuming concern following the Italian invasion. In 1935 she established the journal New Times and Ethiopian News, which publicized and supported Haile Selassie’s anti-colonial campaign. With her son, Pankhurst went to live in Ethiopia in 1956 and died in Addis Ababa in 1960.

Augustus John was widely known as the archetypal bohemian artist at the beginning of the twentieth century. He left the quiet seaside town of Tenby in 1894 to attend the Slade School of Fine Art in London, followed the next year by his sister, the artist Gwen John. After an accident in 1895, he cultivated a ‘wild’ persona and established his place within the progressive cultural circles of fin-de-siècle London. As well as being a radical student, he was also a prolific one, and his art was widely admired by his contemporaries. He married Ida Margaret Nettleship, a fellow Slade student, on 24 January 1901, and they went to live in Liverpool where John was employed in an art school affiliated to University College, London.

It was during this period that John became acquainted with the Gypsy scholar, John Sampson. Nomadic life on the open road was to become something of a fascination to John, and he took his family retinue (which included his wife, his mistress Dorothy McNeill, known to the family as Dorelia, and all their children) on various trips in a Romany caravan. On moving back to London, John established himself as a central figure in the progressive faction of the London art world, opening the Chelsea Art School with William Orpen (1903-7). He was also an enthusiastic member of the New English Art Club. John was very close to William Rothenstein and his wife, Alice. John is the male figure in Rothenstein’s enigmatic The Doll’s House (1899-1900). Rothenstein praised John’s work highly, going as far as to call him a ‘genius’ in his autobiography, Men and Memories (vol. 1, p. 3). It was most probably through his friendship with Rothenstein that John became a member of the India Society. He is listed as a member from the outset of the Society in The India Society: Report for the year ending December 31, 1911 (London: Chiswick Press, 1912). John did not publish his opinions on Indian art but must have been acquainted with it through his connections with Rothenstein and the India Society. In 1908, he worked on a canvas entitled Nirvana (sketches are in the Tate Collection; presented by William Rothenstein in 1917) which might suggest a closer personal interest in eastern spiritual ideas. This was exhibited at the ‘Twenty Years of British Art, 1890-1910’ exhibition at the Whitechapel Gallery in 1910.

From 1920, John travelled through Europe, Jamaica and the US in a bid to revive his reputation which had rapidly declined after the war. In the 1930s and 1940s, he knew the Ceylonese M. J. Tambimuttu and contributed a portrait of the poet and editor to his Out of this War (1941). In September of 1961, a seriously-ill John went to London to take part in a demonstration against nuclear weapons. He died a few weeks later at home in Hertfordshire.

The three Sitwell siblings – Edith, Osbert and Sacheverell – were poets, writers, and patrons of artists, who fashioned themselves as artistic leaders in the 1920s and 1930s, rivalling those in the ‘Bloomsbury Group’. They came from an aristocratic and wealthy family, and spent most of their childhood at Renishaw Hall, the family’s stately home in Derbyshire. In the 1910s, they moved to London. Their first venture was an annual anthology of modern verse called Wheels, edited by Edith Sitwell from 1916 to 1921, which collected the work of many young talents such as Nancy Cunard, Wilfred Owen and Aldous Huxley, as well as their own poems. The Sitwells achieved legendary status when Edith gave a reading of her poetry collection Façade in London’s Aeolian Hall in 1923; her poems were accompanied by orchestral music by William Walton, and the poet controversially spoke using a Sengerphone, with her back towards the audience. The Sitwells considered themselves as rebels against ‘philistine’ values and accepted artistic conventions. They thrived on hostile criticism and were united against their sworn ‘enemies’, many of whom were once their close friends, such as Noël Coward and Wyndham Lewis. The Sitwells became estranged from D. H. Lawrence over his publication of Lady Chatterley's Lover (1928).

All three Sitwells were prolific writers, but they are best remembered as cultural icons due to their style and personality. C. L. R. James, who recorded his meeting with Edith Sitwell in 1932, remembers how her reputation as an eccentric artist was well known in Trinidad, and, upon meeting her, he described her as ‘a striking figure [and] even more decidedly a personality’. The Sitwells defined themselves against the Cambridge-oriented Bloomsbury Group, but nevertheless had close relationships with many of its members, and were often spotted at its social functions. Mulk Raj Anand, in Conversations in Bloomsbury, records his meeting with Edith Sitwell at a party, and her conversation with D. H. Lawrence and Aldous Huxley. Edith was a close friend of Tambimuttu, and both she and Osbert were contributors to his Poetry London.

Jamini Roy was a prolific painter of the twentieth century. His work is widely collected both in India and abroad. At the age of 16, he was sent to the Government Art School in Calcutta, receiving his Diploma in 1908. He was later to reject his formal, academic training as well as the style of the Bengali 'revivalist' movement and one of his teachers, Abanindranath Tagore. Instead, he took inspiration from indigenous Indian art, often described as 'folk' art. He was particularly drawn to Kalighat art and the Santhal people, often depicting Santhal dancers and drummers in his characteristic 'flat' style using a restricted palette of earthy colours. He experimented with techniques and materials, such as tempera, card, rush-matting and natural pigments. His obituary in The Times noted: ‘His studio was a place of pilgrimage for all interested in the artistic heritage of Bengal and in his own delightful person he typified a generation and a culture' (15/05/72).

The poet and editor M. J. Tambimuttu became interested in Roy's work in the mid-1940s. In correspondence, he expressed an interest in commissioning a monograph on Roy for his Editions Poetry London list, as well as in arranging an exhibition of his work in England (correspondence with Kurt Larisch, Tambimuttu archive, British Library). Roy's work was exhibited in London in 1947 (Burlington House) and in New York in 1953. He was awarded the Padma Bushan by the Indian Government in 1955. Roy was supported, collected and written about by William Archer, the Keeper of the Indian Section at the Victoria and Albert Museum, and also by Archer’s successor, John Conran Irwin. Irwin collaborated with the progressive poet Bishnu Dey to write the first biography of Roy. Irwin was also the executive secretary of the important exhibition at Burlington House, ‘The Arts of India and Pakistan’, in the winter of 1947-8, in which Roy’s work was included. William Archer made Roy’s work central to his book India and Modern Art (1959).