Page 276 - Eye of the beholder

The group of Englishmen towards the right appears to be nonchalant, except the one behind the elder prince whose hand gesture speaks eloquently of the emotions he is going through at the captivity of the two little princes.
In the background can be seen the battle field with thick gusty smokes rising into the air; and a crowd of soldiers delineated as gathered in front of a large tent. Further in the background can be seen the landscape and the coconut palms.
Critically viewed, Brown has combined the two styles of Baroque and Neoclassicism. Benjamin West who paradoxically worked in both Neoclassical and baroque style, was Brown’s teacher under whom he trained, creating a lasting impact on his works, and till the end of his life was painting works after his teacher. The Neoclassical element can be felt in the unemotional countenances of the Englishmen with Cornwallis, suggesting that such emotional display does not become of a good statesman or a general. Though the moment represented is one of intense emotion, Brown has considerably played down the sentiments. Cornwallis is the dominant personality with his height and military bearing is clam and nonchalant looking with supreme authority at the natives opposite him, conveying that the decision is taken and cannot be altered. The older prince to the right of the group has a pleading look in his eyes, almost conveying to his father’s army that they be saved. The strong feelings become manifest in the group representing Tipu, creating a dynamic contrast between the two sides. The gestures, glances and postures of this group also have strong resonance to Diego Velasquez painting of Surrender of Breda, where the defeated army is represented with despair, sadness and hopelessness.The painting has the poignancy of emotions and sentiments that strikes at the heart of the viewer that Brown has conveyed with sympathy.
In his lifetime, Tipoo Sultan, son of Haider Ali had become quite a legend in England. He was the only native Indian Ruler to have successfully resisted the advances of the British East India Company thrice in the Anglo- Mysore wars. As a result, Tipoo had developed an aura of sorts in the popular mindset in England.
This painting depicts the pinnacle scene of the end of the third Mysore war that ended with the Battle of Seringapatnam on the 18th March 1792. The war had by then been continuing for more than two years, having broken out in 1789. Among the more draconian and dramatic conditions of the treaty was the requirement that Tipoo hand over 2 of his 3 young sons to Cornwallis as a war hostage. The treaty concluding ceremony which was executed with great fanfare, was commemorated in painting by Robert Home, who was present in person on the occasion.
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