Maharana Amar Singh II with Ladies of the Zenana outside t

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Rajnagar, not far from Udaipur, had a special importance for Amar Singh II and therefore also for his artists. Around the years 1692\u201398, the Stipple Master served as painter to Prince Amar Singh (the future Maharana Amar Singh II). In this work\u2014as in many others by the Stipple Master\u2014Amar Singh II appears naked to the waist, and the painter\u2019s technique of dots and short strokes is clearly visible on his subject\u2019s torso. The background is largely unpainted, and color accents are employed with great restraint. Particularly apparent is the artist\u2019s use of a hierarchical ordering that depicts the prince larger than the attendant ladies of the zenana. About the Artist Stipple MasterActive at the Court of Amar Singh II, Udaipur, ca. 1690\u20131715 Following the pioneering career of Sahibdin, painters in Udaipur, Rajasthan, mainly reproduced illustrations for religious manuscripts based on his compositions. Toward the end of the seventeenth century, an artist arrived at the court who would establish a style that persisted for nearly thirty years under the prince and later ruler Amar Singh II (r. 1698\u20131710) and his successor Maharana Sangram Singh II (r. 1710\u20131734). He is identified as the Stipple Master. The style of this anonymous artist remained a singular phenomenon at the court. He favored a nearly monochrome approach, a style with precedents in both Mughal and Deccan painting, the nim qalam technique. Amar Singh likely became aware of the technique through exposure to Mughal examples. It is also documented that the ruler was interested in paintings from Bundi and Kota, and therefore, works from those places, influenced by the Chunar Ragamala Masters provided another avenue of Mughalesque influence. The range of subjects that can be attributed to the Stipple Master makes it clear that he had direct access to his patron. Included are intimate scenes that show him in his pleasure gardens in reverie, in his summer pavilions, or in the palace with the women of his harem. The artist\u2019s work dates mainly from the reign of Amar Singh II, and its stylistic uniformity suggests that patron and painter \u2014 as Catherine Glynn put it \u2014 had a \u201cshared vision.\u201d The Stipple Master\u2019s palette is very limited. As a rule, only the figures and portionsof the architecture or flora and fauna are set off in color, while the background remainsfor the most part minimally defined or in some passages, unpainted altogether. Onework that according to its inscription shows the ruler in front of his picture gallery inRajnagar combines the artist\u2019s stylistic features; the prince\u2019s women are linedup against an untreated background, drawing the viewer\u2019s gaze to Amar Singh II, whois depicted on a larger scale that reflects his importance. The style that the Stipple Master practiced seems to have fallen out of favor duringthe end of the first quarter of the eighteenth century, and by looking at paintings producedat the royal atelier for Sangram Singh II, one quickly understands that more grandand more complex compositions began to dominate the output of painting at Udaipur.

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