This painting comes to us via SM tipster Omar Khan:

“An Execution in British India”- Painting by Vassili Verestchagin

As part of his article accompanying the wood engraving of the painting when it was published in Harper’s Weekly on November 17, 1888, [Harper’s Weekly art critic Clarence Cook] wrote:

“So with the other picture, the shooting of the Sepoys, Verestchagin does not say that this particular scene is an incident of the great mutiny. Shooting from guns is the only way, he says, that 60,000 soldiers in a strong country can keep in awe 250,000,000 natives. Superstition must be utilized. The natives do not fear to die, but they fear to die in any way that destroys the identity of the body. They cannot enter heaven blown limb from limb. Therefore this is the way to touch their souls with dreadful awe, and the English, says our artist, have always blown from guns, blow from guns today, and will blow from guns as long as India is held. [Link]

In the painting you presumably see Sepoy soliders in Delhi, captured during the 1857 Mutiny, fixed to the front ends of cannons, and about to be obliterated (although check the comments for a more likely explanation of what is being depicted here). I’m not sure that it is clear if this scene was actually witnessed by Verestchagin, but I like the description of the painting.

Verestchagin’s notoriety came from showing some of the most talked about events of the era. This scene was a standard British way to settle scores, and continued long after the war of independence in 1857. It was hotly debated in British and Indian papers between liberals and conservatives. To the former it was an excess of colonialism, to the latter an essential ingredient. As a Russian, Verestshagin was on opposite sides of the British as far as India was concerned. His American audience was also more critical of colonialism. [Link]