Thomas Daniell was a British painter and printmaker who, along with his nephew William Daniell, traveled to India in the late 18th century. He produced Oriental landscapes and scenes, capturing India’s architecture, people, and culture. His aquatint prints showcased Indian scenery, influencing British perceptions of the subcontinent’s beauty and diversity.
Painted circa 1833–34 by William Daniell, The Jumma Masjid at Seringapatam captures the grandeur of Tipu Sultan’s 1787 mosque. Viewed from the bastion south of the Bangalore Gate, the composition highlights two majestic minarets adorned with floral bands and pigeon holes, crowned by ornate domes. The mosque’s arched hall and mihrab face Mecca, inscribed with poetic praise. Daniell’s romantic style evokes serenity and reverence, blending architectural precision with atmospheric depth. Historically poignant, the mosque was where Tipu convened his officers in 1792 to deliberate peace terms with Lord Cornwallis, marking a pivotal moment in Mysore’s resistance.
Thomas Daniell was a British painter and printmaker who, along with his nephew William Daniell, traveled to India in the late 18th century. He produced Oriental landscapes and scenes, capturing India’s architecture, people, and culture. His aquatint prints showcased Indian scenery, influencing British perceptions of the subcontinent’s beauty and diversity.
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Painted circa 1833–34 by William Daniell, The Jumma Masjid at Seringapatam captures the grandeur of Tipu Sultan’s 1787 mosque. Viewed from the bastion south of the Bangalore Gate, the composition highlights two majestic minarets adorned with floral bands and pigeon holes, crowned by ornate domes. The mosque’s arched hall and mihrab face Mecca, inscribed with poetic praise. Daniell’s romantic style evokes serenity and reverence, blending architectural precision with atmospheric depth. Historically poignant, the mosque was where Tipu convened his officers in 1792 to deliberate peace terms with Lord Cornwallis, marking a pivotal moment in Mysore’s resistance.
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