It’s about time for another visit to the Bristol Museum and Art Gallery, and this time there’ll be just one painting for my virtual viewing: The State Entry into Delhi, also known as The Delhi Durbar of 1903.
Painted in 1907 by the British-born American artist Roderick Dempster MacKenzie (1865–1941) it’s a mammoth canvas, 2.9 metres by 3.7 metres (nine and a half feet by twelve). Protected by reflecting glass I found it impossible to get a clear overall shot as it was marginally obscured by pillars supporting a balcony above, but I was at least able to get in close to observe details. (The original version in Delhi is even larger: 3.3 metres by 5, or eleven feet by seventeen.)
It’s a controversial painting these days, of course, with its explicit imperialist and colonialist messages. And, rightly, the museum last year had placed it opposite Devolved Parliament, Banksy’s 2009 satire of Britain’s archaic parliamentarianism, with adult chimpanzees taking the place of the honourable members: both canvases, each separated by a century, had been curated to encourage questioning about traditional attitudes and their relationship with evolving values in the 21st century.
Here I want to look at a few details of Mackenzie’s work and discuss its artistic merits within a broader context.