Eugene Delacroix – Two Studies of an Indian from Calcutta, Seated and Standing National Gallery of Art (Washington)

The composition presents two depictions of a man identified as being from Calcutta, rendered in oil on paper and mounted on canvas. The arrangement is straightforward: one figure stands, the other seated, positioned side-by-side against a dark, undefined background that minimizes spatial depth and directs attention to the individuals themselves.
Here we see the standing figure dressed in elaborate attire – a red turban adorned with what appears to be a decorative element, a white tunic with a crimson collar, and loose trousers gathered at the ankles. He holds a walking stick, leaning slightly on it for support or perhaps as an affectation of status. His posture is formal, suggesting a deliberate presentation. The seated figure mirrors this formality in his dress; he wears similar garments, including the red turban and white tunic with crimson accents, but drapes a shawl around his shoulders. He rests one arm on the armrest of a chair, adopting a relaxed yet dignified pose.
The artist’s handling of light is significant. It illuminates the figures faces and clothing, highlighting the textures of the fabrics and emphasizing their features. The skin tones are rendered with subtle variations, avoiding caricature while still conveying distinct ethnic characteristics. The details – the intricate patterns on the turban, the embroidery on the tunic, the slippers on the feet – suggest a certain level of wealth or social standing within his community.
Beyond the surface depiction, several subtexts emerge. The pairing of the seated and standing figures implies a comparison, perhaps intended to explore different facets of identity or status. The dark background creates a sense of isolation, suggesting that these individuals are presented as representatives of their culture rather than integrated into a broader narrative. Given the historical context of European colonial expansion in Asia, it is likely that this work served as an observation study – a means for the artist to document and understand the Other. However, the dignified portrayal of the subject challenges any simplistic notion of colonial dominance; instead, it suggests a degree of respect or even fascination with the individuals cultural identity. The formality of the poses and attire could be interpreted as a conscious effort on the part of the sitter to present himself in a favorable light, asserting his own agency within a power dynamic. Ultimately, the work invites contemplation about representation, cultural encounter, and the complexities of cross-cultural understanding during a period of significant global change.