“My first attempt at pure art was with Ivor Baptist. Once while I was watching him paint, he turned to me and said, ‘Let me see you paint.’ And I did.

It was then that I discovered the excitement and pleasure of painting with oils. I had painted a dark skinned Negombo fisherman, and Ivor bestowed the fisherman with a pair of sparkling blue eyes” Melville Assauw

Ivor Baptist was a respected Sri Lankan landscape artist and art educator active during the mid-20th century. Baptist was known for his plein air approach to landscape painting, emphasizing the importance of painting directly from nature to capture the nuances of light and atmosphere. He would take his students outdoors, encouraging them to “paint on the spot,” a method that deeply influenced their artistic development.

One is bound to be surprised by the impact Baptist has had on contemporary artists and creatives. He was an art teacher at St. Jones College and the College of Fine Arts. His most famous student is perhaps Marie Alles Fernando, who even had joint exhibitions with him in the 1970s. She recalls that her philosophy of art changed after lessons with Baptist, leading her to prefer landscape painting. Her 1965 painting, George Stewart Canal and Wekanda Mills in the Background, reflects this influence, capturing historical buildings and scenes from Colombo.

Another student of Baptist is Ramzi Rahaman, a renowned fashion designer and makeup artist in Sri Lanka. In his youth, Rahaman’s father arranged for him to receive art lessons from Baptist, which fostered his early love for oil painting and sketching. These foundational skills contributed to Rahaman’s creative pursuits in the fashion and beauty industry. Melville Assauw, the Sri Lankan advertising veteran, credited Baptist with encouraging him to pursue painting as a passion; he had been a commercial artist until then. Author Christine Spittel-Wilson acknowledged the same.

Though Ivor Baptist may not have widespread recognition today, his legacy endures through the successes of his students and their contributions to Sri Lankan art. His dedication to teaching and his emphasis on direct observation and painting from life have left a lasting impact on the country’s artistic heritage.