N Gopala Row (1880-1945)
A Charismatic Artist
The Legacy of N. Gopala Row
Art transcends reality, embodying a realm of glory and imagination. It is a unique world, shaped by the artist’s profound vision. Throughout history, artists have infused the world with their creativity, each possessing a touch of magic, as if bestowed by the divine. Among them, N. Gopala Row emerges as a distinguished figure—a prolific and decorative Indian artist of his time. As the greatest self-taught painter of the early 20th century in India, his works garnered critical acclaim and made him one of the most sought-after artists of his era. Gopala Row’s body of work includes both paintings and oleographs, and his exceptional contributions to art have earned him the title of “Father of Modern Contemporary Art of Andhra.”
Early Life
Gopala Row was born in Injaram in 1880, near Coconada, presently known as Kakinada in the East Godavari district of Andhra Pradesh. His father, Nandikolla Venkateswarao, was a wealthy and prosperous Zamindar. He had two sons, with Gopala Row being the eldest and his younger brother N.V. Reddi Naidu. Gopala Row’s native tongue was Telugu. From his early childhood, he had an avid interest in art and paintings, making him a self-taught artist. One can easily discern from his artistic creations that the passion for art flows in his veins. Later, Gopala Row tied the nuptial knot with N. Surnarayanamma, who also hailed from a wealthy family, her birthplace was Kapulapallam, a village near Injaram.
Artistic Journey
Got old in the hometown of profound pandits, learned poets, and scholars, N. Gopala Row was enriched with a deep understanding of the mythological stories of the Ramayana and Mahabharata, reflecting his grasp of Sanskrit and Telugu literature. Cultural values have always been rooted in him; he has been a true devotee of Lord Krishna throughout his life, and with his refined strokes of painting, he created numerous art pieces of Lord Krishna. Due to his celebrated artistic skill, N. Gopala Row established a significant reputation both widely and among the wealthy Rajas and Maharajas of his time. As a Zamindar and painter himself, the Rajas and Maharajas were patrons of Gopala Row, whose portraits he painted. Furthermore, the Rajas of Vizianagaram, Bobbili, Pithapuram, Parlakimidi, and Tuni were so impressed by his brilliant skills that Gopala Row was honored among them and invited to paint portraits of the Rajas and Maharajas of his time. It is said that one of his most beautiful painting was the “Chamaraja Wodyar” of Mysore, adorned with gold gilt.
Distinctive Style and Recognition
Gopala Row grew into a well-formed man with a charismatic personality. As previously mentioned, he was a self-taught and self-made artist, never having learned the art of painting formally. Instead, he possessed a deep passion and innate talent that are reflected in his work, which exudes elegance and captivates viewers with a soothing blend of colors. He is regarded as one of the greatest artists in history due to his refined skills and effortless strokes, making his pieces a true delight for the soul.
Despite his talent, Gopala Row’s art was not widely recognized during the colonial era, which deprived many artists of opportunities to showcase their unique skills. British attitudes often devalued Indian art, seeing it as inferior to Western art. This cultural marginalization made it harder for Indian artists to gain recognition and respect. While some Western art materials and techniques became available, access to quality resources remained limited, affecting the ability to experiment and innovate. The British government imposed restrictions on artistic expression, particularly in works that critiqued colonial rule or depicted nationalistic themes. This limited the subjects and styles artists could explore
His contemporary artistic skills were remarkable, and his devotion to art, along with his constant desire to refine his abilities, made him well-known among the kings of his time. while Gopala Row’s work retains a strong connection to Indian cultural motifs, it also reflects the broader artistic dialogue between Indian and Western art during the colonial period. This fusion contributed to his distinctive style and the evolution of modern Indian art..
Gopala Row breathed new life into Hindu epics through his paintings, displaying harmony and beauty while maintaining a balanced theme. His works added significant value to art by revealing his inner thoughts and ideas while also reflecting the cultural context of his era.
Innovations in Printing
The technique of oil painting was first embraced by British artists in the late 18th century and quickly gained popularity among Indian artists as well. As artworks and artists began to receive recognition, the British established art colleges in India in 1854, with institutions in Calcutta, Madras, and Bombay. Art schools commenced operations in 1857, followed by the formation of art societies in 1888.
As Gopala Row’s works garnered acclaim, some fascinating details about him came to light. Remarkably, he never attended an art school or received mentorship from other artists; he was entirely self-taught and nurtured his passion for art from a young age. In 1894, a surge of oleographs—originally German oleographic prints—flooded the Indian market, prompting Gopala Row to send his paintings to Germany for oleographing in pursuit of superior quality and color.
Traditional printing methods like stone lithography and chromolithography—where “chromo” denotes color—became increasingly popular during this era. The period from around 1860 to the 1920s marked the peak of this costly process. Victorians developed a variant of lithography that utilized an aniline oil-based ink on stone, creating prints that resembled oil paintings. This remarkable yet nearly forgotten technique produced some of the most iconic images, often involving multiple layers of ink. Some early chromolithographs required the use of 27 to 30 stones to produce a single litho print, resulting in an extraordinarily labor-intensive process with exceptional outcomes.
Community Influence
Gopala Row also served as the munsiff of his village, Injaram, during the British Raj. With deep devotion, he consistently contributed a portion of his wealth to the temple of Injaram, known as “Paradesamma,” each year. He also inaugurated the first “pendal” cinema theatre in Kakinada. Despite his wealth, Gopala Row remained humble and kind, showing compassion for the impoverished families in his village. He frequently donated money to those in need, often funded by the appreciation he received from kings and nobles. The people of Injaram held him in high regard for his generosity, especially during the frequent famines and cyclones that devastated agriculture during the British Raj. After the early demise of their father, both brothers were entrusted with the family’s entire estate and dedicated themselves to improving the welfare of the underprivileged.
Rarity and Impact
Gopala Row is the only Indian artist whose paintings were oleographed in Germany, and he never had them reproduced or published as calendar art prints in India. All of his oleographs were printed in Germany between 1920 and 1930. He is unique in this regard, as each of his oleographs is documented with a registration number, establishing him as the sole proprietor of these artworks. Throughout their lives, both brothers created a significant number of pieces. Gopala Row’s oleograph prints are quite rare in the Indian art market, with only about 100 prints of each painting sent back to India from Germany. These prints are of high quality, featuring excellent color registration and premium paper from the early 20th century. Most of his paintings can be found in palaces and private homes, and some of his works never returned to India after the Second World War.