Free from the constraints of academic training of any kind, Rabindranath’s pictures began on the pages of his manuscripts in the form of cancellations and corrections, that created patterns of exquisite rhythmic harmony (“Purubi” 1924). This innate capacity for rhythmic expression saw the transition from cancellations to consciously worked out, full page visual exercises in a range of mediums. And in these a whole unique world of forms crept up – strange beasts and birds, men and women, full figures, part views and groups conjuring a world of imaginative visual drama. But a major segment of his visuals are landscapes. Like the other themes, these too are memory-images, not studies. He was evidently attracted to the genre because of the potential of mood and ambience inherent in these.