"To earlier academics, it seemed like Company Painting was not really to be taken seriously. The Modernists didn't look at it because it's too early and the Court Painting specialists didn't look at it because it was too late. It just sort of fell in the gap. Perhaps people were less inclined to rescue it from that gap because they had difficulty in coming to terms with its hybrid colonial status. You cannot get away from it being a product of Empire. But rather than telling the story of the patrons' perspective, you have to look at how Indian artists respond. This is a historical moment where artists trained in the Indian court ateliers realised that there is this alternative source of patronage with a completely different set of demands. And when they made the transition from Court to Company, they transformed themselves and they transformed Indian art. With artists like Sewak Ram, we've got a wholly new approach. It is exciting to see the artist as much an agent as the patron in creating the hybrid form. The book and the show at DAG attempts to cover the whole spectrum of Company Painting and its trajectory in the very brief period from the 1770s to its fizzling out by 1850" 
- Giles Tillotson, editor, 'A Treasury of Life; Indian Company Paintings c 1790-1835' talks to Manjula Narayan about  the works of outstanding artists like Mihr Chand, Sita Ram and Ram Das, the depiction of different communities in work by Tanjore artists, Louisa Appleby's album commissioned in the vanished settlement of Maidapur, and his hope that more albums with named artists will soon come to light 

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