Mumbiram’ charcoals and even his watercolor renderings that were live portraitures invariably were rapid-fire executions taken to the finishing line in fraction of an hour. Mumbiram picked up his brush only when he was spontaneously moved by the thrill and grace in meeting a person that he found aesthetically resonating with his own inner melodies. It was a pleasure to watch Mumbiram with his brush. It was very rare that it happened in public.

Mumbiram always had a hands-on approach while making live renderings. Each portrait was treated as a unique individual experience. This was Mumbiram’s Personalism at work. The brushwork in this rendering is very different from the brushwork in the Lakhu portrait or the Gaikwad portrait (made on a hill island in the sands of Yamuna). There is hardly any pencil work to be noticed. One number 8 brush that could make a fine tip was enough. The treatment is ooh-so transparent. Something Mumbiram has adopted in continuation of the watercolor styles of Godbole and Puram. Apart from that Mumbiram did not believe in cultivating a style. Here we quote his thoughts about style from his celebrated Manifesto of Personalism :

“A sovereign artist does not become a slave of style. He bends style at will. But there is a method in the madness. That is style”

Mumbiram put utmost importance on his being a Sovereign Artist. He knew he had a heavy price to pay. He stayed away from galleries and museums and agents and auction houses as also the corridors of academia. His art flourished in that haven of absolute unattachment. The result is for us to see in such art and such life that has no comparison.
The line “Water of the Yamuna is deep” is from the following verse from “Deluges of Ecstasy” or Prema Vivarta published by Distant Drummer:

(Across the Potomac)
Don’t ask me to meet you in the Library
Don’t ask me to come to the Hill
Water of the Yamuna is deep
And I am not authorized

It adds an element of risk and courage to their meeting.

The lines

“Have fun at our Expense
Pick the best flower in our garden”

are from “Iceberg in the Bayou”, which is Part II of “Deluges of Ecstasy”. These lines appearing as caption in the poster convey a sentiment of total trust, unmitigated fondness and total surrender to the spirit of mutual friendship.

Both the lines appearing here are uttered by a forlorn lover of Krishna and are addressed to Krishna himself. In Mumbiram’s images and words ordinary people are seen undergoing similar Rasa experiences. A lover of Krishna on the exalted platform of Prema Vivarta mood is always reminded of Krishna’s leela activities in his eternal Goloka abode.
One Rasik makes this observation:

“These two do seem to be having a heart to heart loving exchange. Indeed such moments of listening to the other are rare. The dark-haired woman inspires great trust in her friend who is ready to share the secrets of her heart. She has grabbed the arm of her red-haired friend as if eager to find out what has made dear friend so happy. Even her pouted lips are showing her curiosity and best-wishes for her friend who is a little shy and can’t meet the eyes of her friend. Such loving and trustful exchange between two people is as precious as the ‘best flower in our garden.”