Search results for: 'Old painting of chi'

One of India’s most important artists, Chittaprosad recorded pivotal political and social movements in the country, such as the Great Bengal Famine of 1943-44 and its fallout, in heart-wrenching sketches and drawings, alongside protests against colonialism, economic exploitation, urban poverty and depravity, just as beautifully as the many drawings, linocuts and scraper board illustrations he made for children, recording a beatific phase of plenitude and family values, and involving himself with marionettes for their entertainment.

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Sunayani Devi picked up a paintbrush in 1905 when she was thirty years old while supervising her kitchen duties, self-taught, but with enough talent to attract the critical attention of Stella Kramrisch who organised an exhibition of her paintings in Germany in 1927. It was in her worthy footsteps that India’s women artists followed. Devayani Krishna was born five years after Sunayani Devi began painting; Amrita Sher-Gil already had a career in Paris by the time India’s first art school-trained woman artist, Ambika Dhurandhar, earned her diploma in Bombay. B. Prabha followed next, her work reflecting the realities of the marginalised in a piquant language. By the time Nasreen Mohamedi and Zarina Hashmi, both born a decade before Independence, established their careers, women were joining art schools in greater numbers, validating their practice not on the basis of their gender but on its context. Anupam Sud Devayani Krishna Gogi Saroj Pal Latika Katt Madhvi Parekh Mrinalini Mukherjee Navjot Rekha Rodwittiya Shobha Broota Zarina Hashmi

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The contribution of the first renaissance capital of the country—Bengal—to Indian art and its development is longstanding, enormous and continued. As one of the largest repositories of Bengal art of the past two centuries, DAG is extremely pleased to announce its major exhibition. 19th Century Popular Paintings 19th Century Popular Prints Abani Sen Abanindranath Tagore Ajit Gupta Amalnath Chakladhar Amitabha Banerji Annada Prasad Bagchi Arun Bose Asit Haldar Atul Bose B C Law B. C. Sanyal Bampada Bandhopadhay Benjamin Hudson Benode Behari Mukherjee Bijan Choudhary Bikash Bhattacharjee Bipin Behari Goswami Biren De Bireswar Sen Biswanath Mukerji Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Das Sunil Bimal Dasgupta Dharamnarayan Dasgupta Dhiraj Chowdhury Dhirendra Deb Burman Dipen Bose Early Bengal Oil Artists Gaganendranath Tagore Ganesh Haloi Ganesh Pyne Gobardhan Ash Gopal Ghoshe Gopal Sanyal Haren Das Hemanta Misra Hemendranath Majumdar Heramba Kumar Ganguly Hirachand Dugar Hiranmoy Roychaudhuri Indra Dugar Isha Mahammad J. P. Gangooly Jamini Roy Jogen Chowdhury Jogesh Chander Seal K. G. Subramanyan Kalighat Patuas Kalikinkar Ghosh Dastidar Kalipada Ghoshal Kartick Chandra Pyne Khagen Roy Kishory Roy Kshitindranath Majumdar Lalit Mohan Sen Lalu Prasad Shaw M. A. R. Chughtai Maniklal Banerjee Manishi Dey Meera Mukherjee Mukul Dey Nabin Chandra Ghosh Nandalal Bose Nikhil Biswas Nirode Majumdar Olinto Ghilardi Paritosh Sen Partha Pratim Deb Prahlad Karmakar Prankrishna Pal Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radhacharan Bagchi Ramananda Bandhopadhyay Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranada Charan Ukil – Ranada Prasad Gupta Rathin Maitra Sailendranath Dey Sailoz Mukherjea Sakti Burman Samarendranath Gupta Sanat Kar Sankho Chaudhuri Sarada Chandra Ukil Sarbari Roy Chowdhury Satish Chandra Sinha Shuvaprasanna Shyamal Dutta Ray Somnath Hore Sudhir Ranjan Khastgir Suhas Roy Sunayani Devi Sunil Madhav Sen Surendranath Ganguly Surendranath Kar Sushil Chandra Sen Zainul Abedin

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We might think of landscape as the most obvious and natural subject for painting. What could be simpler than an artistic response to the world of nature? And yet, civilisations have not always produced landscape paintings. Landscape as an independent genre—with the primary focus not on action but on scenery—was first championed by the Chinese in the ninth century. It was introduced into English art only in the eighteenth century. Elements of nature have appeared in Indian art since the murals of Ajanta, but in supporting roles, in images that are primarily sacred or courtly. Pure landscape painting arose in India only in the nineteenth century, in response to colonial practice. A A ALMELKAR AVINASH CHANDRA BABURAO SADWELKAR BHUNATH MUKERJEE BIJAN CHOUDHARY BIRESWAR SEN CHITTAPROSAD DEVRAJ DAKOJI DEVYANI KRISHNA DHARAMANARAYAN DASGUPTA GANESH HALOI GOBARDHAN ASH HAREN DAS K. K. HEBBAR KANWAL KRISHNA KISORY ROY M. K. PARANDEKAR M. V. DHURANDHAR MANISHI DEY MUKUL DEY New Found Lands NIKHIL BISWAS PESTONJI E BOMANJI PRAN KISHAN PAUL RABIN MONDAL RAMENDRANATH CHAKRAVORTY RAMKINKAR BAIJ SAKTI BURMAN SUNIL DAS THOMAS DANIELL WILLIAM HODGES WILLIAM PARKER

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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression are predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography, a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer A. A. Raiba Abalall Rahiman Abanindranath Tagore Akbar Padamsee Alagiri Naidu Alphonso Doss Ambika Dhurandhar Anjolie Ela Menon Anonymous (Bengal Lithographs) Anonymous (Ladies and Gentlemen) Anonymous (Painted Photographs) Anonymous (Parsi Eminences) 90 Anonymous (Raja Ravi Varma School) Anonymous (Royal Personages) Anonymous (Spiritual) Anonymous (Studio Photographs) Ardeshir Duishajee Tavaria Asit Kumar Haldar B. Paul Baburao Sadwelkar Badri Narayan Benjamin Hudson Bhunath Mukherjee Bhupen Khakhar Bikash Bhattacharjee Bipin Behari Goswami Biswanath Mukerji C. N. Kistnasawmy Naidu Cecil Burns Chintamoni Kar Chittaprosad D. L. N. Reddy D. P. Roy Chowdhury Devyani Krishna F. N. Souza Fatima Ahmed Frank Brooks G. Kamble G. N. Jadhav G. R. Santosh Gaganendranath Tagore George Keyt Gobardhan Ash Gogi Saroj Pal Gopal Deuskar Gopal Ghose Gopal Sanyal H. Hormusji Deboo Himmat Shah Hiranmoy Roychaudhuri J. A. Lalkaka J. Barton J. D. Dalvi J. D. Gondhalekar J. P. Gonsalves J. P. Gangooly J. Sultan Ali Jacob Epstein Jai Zharotia Jamini Roy Jogen Chowdhury Jyoti Bhatt K. C. Pyne K. K. Hebbar K. Lall K. Laxma Goud K. S. Kulkarni Kanwal Krishna Keshavrao Sadashiv Kisory Roy Koulji Ardeshir Tachakra Krishen Khanna L. M. Sen L. Munuswamy L. N. Taskar L. P. Shaw Laxman Pai M. F. Husain M. F. Pithawalla M. K. Parandekar M. R. Acharekar M. V. Dhurandhar Mukul Dey Muni Singh N. R. Sardesai Nemai Ghosh Nirode Majumdar Olinto Ghilardi P. T. Reddy Paritosh Sen Partha Pratim Deb Pestonji E. Bomanji Pradip Maitra Prahlad Karmakar Prokash Karmakar R. D. Panvalkar R. S. Bisht Rabin Mondal Rabindranath Tagore Raja Ravi Varma Rama Lal Ramendranath Chakravorty S. A. Meerza S. Dhanapal S. G. Thakar Singh S. L. Haldankar Sankho Choudhuri Satish Sinha Savi Savarkar Shanti Dave Sudhir Khastgir Suhas Roy Sunil Das Sunil Kumar Paul Sunil Madhav Sen Sunqua Surendran Nair Sushil Chandra Sen Tarak Garai V. A. Mali V. B. Pathare V. M. Oke V. Nageshkar Ved Nayar Vivan Sundaram Wasim Kapoor

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'Iconic Masterpieces of Indian Modern Art, Edition 2' opened on 11 February, featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, William Dalrymple reflects on the painting ‘Panorama of a Small British Station on the Ganges’. Commissioned by Major James Natheniel Rind and painted like a scientific record of a scenario, the composition evokes a transitional phase between an older Mughal ethos and the emerging world of the Company.

Join us for a talk by William Dalrymple on Indian Painting for the East India Company on Wednesday, 5th April 2023, 7pm at DAG, 22A Janpath Road, Windsor Place, New Delhi

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Calcutta, flourishing with commerce and maritime trade during the nineteenth century, was regarded as the ‘second city’ of the British Empire. People thronged there in large numbers to make a livelihood, or in holy pilgrimage, seeking blessings at the Kali temple at Kalighat that had been re-built in 1809. Annada Prasad Bagchi Bamapada Banerjee B. C. Law C. W. Lawrie Kshetradas Chitrakar Panchanan Karmakar Madhav Chandra Das Ramadhan Swarnakar Ganganarayan Ghosh Nritya Lal Datta Press Kristohurry Das Chorebagan Art Studio Kansaripara Art Studio Calcutta Jubilee Art Studio Bat-tala

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Do we view things differently as we grow older? What are the perspectives that matter most when viewing art? Do we see things differently as men and women? Do we see art differently as men and women? How does one’s gender impact the creation of art? In the months leading up to ‘Ways of Seeing’, these were some of the questions we posed to ourselves, and we wish we could say that we found a generic, universal response, for there are as many standpoints and views as there are viewers and people. Amrita Sher-Gil Anjolie Ela Menon Anupam Sud Arpana Caur B. Prabha Devayani Krishna Elizabeth Brunner Gogi Saroj Pal Jaya Ganguly Kanchan Chander Kavita Nayar Latika Katt Madhvi Parekh Mrinalini Mukherjee Nalini Malani Navjot Nilima Sheikh Rekha Rodwittiya Shobha Broota Sunayani Devi Vasundhara Tewari Broota Zarina Hashmi Akbar Padamsee Avinash Chandra B. C. Sanyal Baburao Painter Bikash Bhattacharjee D. P. Roy Chowdhury Dharamanarayan Dasgupta Dhruva Mistry F. N. Souza G. R. Santosh Ganesh Pyne George Keyt Haren Das Jagadish Dey Jamini Roy Jogen Chowdhury Jyoti Bhatt K. H. Ara K. S. Kulkarni Khagen Roy Krishen Khanna M. F. Husain M. Suriyamoorthy M. V. Dhurandhar Nandalal Bose P. T. Reddy Prokash Karmakar Sakti Burman Satish Sinha Sudhir Khastgir Sunil Das V. Nageshkar

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For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

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A great admirer of Indian modernist Rabin Mondal's works and curator of ‘Kingdom of Exile, a major retrospective on the artist, Kishore Singh of DAG is joined by Ina Puri, documentarian, collector and an old acquaintance of the artist as, together, they explore the circumstances of Mondal’s painterly life, particularly his vaunted King Series. A set of eight powerful paintings on the theme and hubris of power, now going on view at the upcoming Art Dubai 2022 Learn More

Chintamoni Kar, one of the foremost modern sculptors of India, was born on 19 April 1915 in Kharagpur. He trained initially in sculpture with Giridhari Mahapatra, a traditional Oriya sthapati or temple-carver, and learnt painting under Kshitindranath Mazumdar at the Indian Society of Oriental Art, Calcutta. Learn More

Chittaprosad couldn’t have created a more germane work in honour of the people who successfully fought their oppressors to create an independent nation. A close examination of his masterpiece, Bangladesh War, reveals the artist’s use of symbols of hope against persecution and domination, art collector and philanthropist Nadia Samdani tells us.

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