Chetan and Anshita came in with a very simple requirement of wanting a Mughal themed invite. But with their background in Art History, the potential to play around with that as a central theme was immensely appealing
As we got down to brain storming, we decided to try and recreate a museum wall with their favorite paintings. As the idea distilled down and evolved further, we decided to convert each of the legendary paintings into individual cards by metaphorically tying them up to the functions
We chose their favorite art movement form – Impressionism as the main style of illustrations. The brush strokes had to be relatively small, thin, yet visible and an open composition, emphasizing on accurate depiction of light in its changing qualities
This invite is a curation of legendary paintings from their favorite art movement (Impressionism), depicting the different functions
Welcome Dinner – Under the Starry Night by Van Gogh
Mehendi by the Water Lilies by Claude Monet
Sangeet, La Classe De Danse by Edgar Degas
The Wedding Portrait by Arnolfini
Each of these paintings also have a personal significance with Chetan and Anshita.
•The Arnolfini wedding portrait was co-incidentally the first painting they had both invested in individually
•Anshita, being a ballet dancer, is a huge fan of Edgar Degas’s paintings
•Starry Nights is what got Anshita interested in Art History in the first place.
•Monet’s painting is their first buy together as a couple.
PS: Every element is hand drawn from scratch
Details of Execution
Each of the paintings that we had narrowed down on had to be recreated in a style of illustration that matched the remaining elements but also keeping in mind the main aspects of the original art movement
For example Van Gogh’s starry night had to complement the illustration style of our fancy wedding dinner round tables and Indian lamps while retaining the brush stroke effect of the original.
The Mehendi function being a water side event, we used Monet’s water lilies. The lady with the backdrop had to be created using a similar medium to support the function. Chetan was very keen on using a Jharoka element in at least one of the paintings since the venue had several. It fit the Mehendi illustration the most.
The Arnolfini Wedding is the only painting that falls under the Renaissance art movement and not Impressionism. But it had a significant role in both their lives and also was the most obvious choice to depict the Wedding.
At first glance, Jan Van Eyck’s Arnolfini Portrait appears to be a straightforward depiction of a wealthy merchant and his wife. But take a second look (or third or fourth), and a more intriguing image emerges.
The mirror in the original Arnolfini painting has a lot of connotations and theories such as, who are the figures reflected in the mirror? Is one the artist himself? Are they witnesses? And, if so, are they witnessing an actual marriage?
The Ganesha in the mirror on the cover page brings out the idea of the lord almighty witnessing the marriage and showering them with
The cover flap is the starting node of all the inserts. It has one element from each function to depict how they all are in harmony even if they signify different things.
We tried out different textures of paper until we settled on original oil canvas to give it a very authentic feel. The invites are digitally with ornaments, embroidery and the frame foiled. The brown cover of the invite resembles brown paper envelopes handed out in museums.