Search results for: 'Through the red graaa'

Much of Indian modernism is enriched by the work that some of its best known artists produced after they had left the country, choosing as home another land. F. N. Souza was among the first to leave, in 1949, to head for London, where a successful practice catapulted him to the top of Britain’s artists. He was followed, in 1950, by S. H. Raza, who settled in Paris, winning the coveted critics’ award (Prix de la critique) in 1956, while others such as Krishna Reddy (Paris and New York), S. K. Bakre (London), Sakti Burman (Paris), Avinash Chandra (London and New York), Mohan Samant (New York), Natvar Bhavsar (New York), V. Viswanadhan (Paris), Sohan Qadri (Copenhagen), Rajendra Dhawan (Paris), Eric Bowen (Oslo), Ambadas (Oslo), and Zarina Hashmi (New York), followed in the 1950s-70s. These fourteen artists, with their diverse styles and concerns in art making, are masters lauded for the sheer range of responses to their environment that their work has registered. However, the question this exhibition forefronts, as its curator Kishore Singh asks, is: ‘Does the artist’s ethnic identity mean art too has an ethnic identity?’ Ambadas Avinash Chandra Eric Bowen F. N. Souza Krishna Reddy Mohan Samant Natvar Bhavsar Rajendra Dhawan S. H. Raza S. K. Bakre Sakti Burman Sohan Qadri V. Viswanadhan Zarina Hashmi

Learn More

‘Iconic Masterpieces of Indian Modern Art, Edition 02’, the second iteration of DAG’s annual exhibition that redefines the concept of modernism in the Indian context, will be on view in New Delhi this month. Timed to coincide with the launch of its new gallery in the capital, ‘Iconic Masterpieces’ brings together the finest instances of art created in the country by Western and Asian travelling artists and Indian masters spread a little over two centuries. Selected for their rarity, historicity, and excellence, each work of art in this exhibition marks the zenith in terms of the quality of art created in different periods and styles in the subcontinent.

Learn More

The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

Learn More

The exhibition Tantra on the Edge: Inspirations and Experiments in Twentieth Century Indian Art is a pioneering attempt to gather together works of sixteen prominent Indian artists under the single thematic rubric of the transient but least definable phases of contemporary art in the last century. The exhibition features the artworks, inspirations, and experiments, of artists that had a sustained relationship with tantra philosophy, its vivid, abstract, sacred symbols, or their personal spiritual illuminations. Biren De G. R. Santosh Gogi Saroj Pal J. Swaminathan Jyoti Bhatt K. C. S. Paniker Manu Parekh P. T. Reddy Prabhakar Barwe R. B. Bhaskaran S. H. Raza Satish Gujral Shobha Broota Sohan Qadri Sunil Das V. Viswanadhan

Learn More

An ancient civilisation, India was always prized for her fabled wealth—textiles, crafts, spices—her knowledge—literature, scholarship, universities—and her culture—music, dance, theatre, art. It is the only country with an unbroken tradition in each of these disciplines extending all the way back to the Indus Valley Civilisation. Ambadas Anonymous (Kalighat Pat) Arun Bose Asit Kumar Haldar Avinash Chandra B. Prabha Balraj Khanna Bikash Bhattacharjee Bimal Dasgupta Biren De Chittaprosad Company Painting D. P. Roy Chowdhury Early Views of India G. R. Santosh Ganesh Haloi Himmat Shah J. Sultan Ali Jamini Roy Jeram Patel K. S. Kulkarni Krishna Reddy L. Munuswamy M. F. Husain M. Suriyamoorthy Natvar Bhavsar Nikhil Biswas P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rajendra Dhawan S. G. Vasudev Sakti Burman Sanat Kar Sankho Chaudhuri Satish Sinha Shanti Dave Shyamal Dutta Ray Sunayani Devi Sunil Das Sunil Madhav Sen V. Viswanadhan

Learn More

A great number of short-lived but nonetheless significant art movements arose in India over the twentieth century as Indian artists struggled with evolving or arriving at their identity as modern artists and an appropriate visual language of Indian modernism. One of the most significant amongst these is the artist collective, Group 1890, formed in 1962 with twelve young artists, led by the artist and art critic J. Swaminathan. The group consisted of J. Swaminathan, Gulammohammed Sheikh, Himmat Shah, Jeram Patel, Ambadas, Jyoti Bhatt, Raghav Kaneria, M. Reddeppa Naidu, Rajesh Mehra, Eric Bowen, S. G. Nikam and Balkrishna Patel. Ambadas Balkrishna Patel Eric Bowen Gulammohammed Sheikh Himmat Shah J. swaminathan Jeram Patel Jyoti Bhatt Raghav Kaneria Rajesh Mehra Reddappa Naidu S. G. Nikam

Learn More

India’s Rockefeller Artists showcases iconic works of the Indian painters and sculptors who travelled to the US on philanthropic grants from the JDR 3rd Fund (1963–1979) and later through the Asian Cultural Council. These artists were exposed to American art and shared their own learnings and experiences through these enriching cultural exchanges. The show examines how and why these artists were selected; their relationships with each other and the American art milieu; the impact of the experience on their work; and the creation of a community of Rockefeller artists.

Learn More

Born in a village in the East Godavari district of Andhra Pradesh, Reddeppa Naidu acquired his formal education in Kakinada and later studied at the Government College of Art and Craft, Madras, where he was mentored by K. C. S. Paniker. He held his first exhibition in Madras in 1958. Learn More

The mid-twentieth century saw a churn in the practice of art in India with a number of artists beginning to explore a genre that had swept the West with its absence of figuration in favour of abstraction. The non-representational began to gain traction as artists found within it a way to express themselves purely through colour as a potent tool to communicate emotions. Abstraction emphasised the relationship between originality and expression in ways that were complex, leading one to debate about the eventual goal of art. Ambadas, Krishna Reddy, Sohan Qadri, Zarina Hashmi, Rajendra Dhawan

Learn More

A print is an original work of art created and printed by hand by an artist or a professional printing assistant from a ‘matrix’—a plate, block of stone, wood or stencil. The image is created on the matrix and the artist takes a limited number of impressions or prints off it. These impressions are numbered and signed by the artist and belong to a limited edition, and this makes the print an original work of art and not a reproduction. Printmaking consists of a wide range of processes: relief printmaking which consists of techniques like engraving, woodcut and linocut; planographic processes such as lithography and oleography, intaglio processes such as drypoint, etching, aquatint, mezzotint, photo processes and collography; and serigraphy, where the image is printed through a silk screen on to the paper. A P Bagchi A Ramachandran Abanindranath Tagore Ajit Dubey Akhilesh verma Akkitham Naryanan Amitabh Banerjee Amitava Anonymous Print Anupam Sud Arun Bose B P Banerjee Basudev Roy Bengal Lithograph Bengal Oleographs Bengal Woodcut Benod Behari Mukherjee Bhupen Khakhar Bijan Choudhury Chittaprosad Daniell William Devraj Dakoji Devyani Krishna Francis N Souza F. B Solvyns Ganesh Haloi Gulam Sheikh Haren Das Himmat Shah Indu Rakshit Indumati Roop Krishna Jagdish Dey Jagmohan Chopra Jai Zahrotia Jamini Roy Jyoti Bhatt K Laxma Goud K V Haridasan Krishna Ahuja Krishna Reddy Lalu Prasad Shaw M F Husain M. V Dhurandhar Madhvi Parekh Maniklal Banerjee Manu Parekh Moti Zahrotia Mrinalini Mukherjee Mukul Dey Nagji Patel Nalini Malani Nandalal Bose Navjot Paneer Selvam Partha Pratim Deb Portrait Punjab Litho Qamrool Hassan R B Bhaskaran Rabin Mondal Radha Charan Bagchi Ram Kumar Ramendranath Chakravorthy Ramkinkar Baij Rani Dey Ravi Varma Press Ravi Varma Print Rini Dhumal Sakti Burman Sanat Kar Satish Gujral Shobha Broota Shyamal Dutta Ray Somnath Hore Sudhir Khastgir Sunil Das Sunil Madhav Sen Suren Gangooly Sushanta Guha Sushil Sen Suvaprasanna Tapan Bhowmik Tarak Basu Thoman Daniell V Vishwanadhan Various Litho and Olio Vijay Bagodi Vinayak Masoji Vivan Sundaram Walter D’Souza Yogesh Rawal Zainul Abedin

Learn More

The exhibition features several works of academic realist portraiture from early 20th century—vivid oil portraits by masters of the form such as Pestonji Bomanji, M. F. Pithawalla, Baburao Painter and L. N. Taskar as well as charcoal sketches by M. V. Dhurandhar, an academic artist of renown of the same period. The selection features Western academic oil-influenced works on mythological themes by the school referred to as Early Bengal and two works painted in a Raja Ravi Varma-derived style—an anonymous work by the Ravi Varma ‘School’ and Aroomoogam Pillay. A. A. Almelkar Abalall Rahiman Abani Sen Akbar Padamsee Ambadas Anonymous (EarlyBengal) Anonymous (Portraiture ) Anupam Sud Aroomoogam Pillay Avinash Chandra Baburao Painter Badri Narayan Bijan Choudhary Bikash Bhattacharjee Biren De Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Devyani Krishna Dharamnarayan Dasgupta F. N. Souza G. R. Santosh G. Ravinder Reddy Ganesh Haloi Gogi Saroj Pal Gopal Ghose H. A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. V. Haridasan Kshitindranath Majumdar L. Munuswamy L. N. Taskar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Mukul Dey N. S. Bendre Nandalal Bose Nasreen Mohammedi Nicholas Roerich Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Pestonji E. Bomanji Prosanto Roy Rabin Mondal Ram Kumar Ramkinkar Baij Ravi Varma ‘School’ S. H. Raza S. K. Bakre Sadequain Sailoz Mukherjea Shanti Dave Shyamal Dutta Ray Sohan Qadri Sudhir Patwardhan Sunil Das Sunil Madhav Sen Tarak Garai Ved Nayar Walter Langhammer

Learn More

The pinwheel of emotions is the genesis of our current exhibition, 'Navrasa: The Nine Emotions of Art'. This unique treatise of emotions and moods has formed the foundation for the performing and visual arts in India. As we researched deeper to explore the dynamics it shares with Indian modern art, we found that all emotions are intrinsically linked with each other, that they trigger actions and reactions and are catalysts for change. 'Navrasa' explores Indian modernism and looks at the works of masters through the nine primary emotions, and breaks new ground in the visualisation of Indian art. Raiba A. H. Muller A. Ramachandran Altaf Amal Nath Chakladar Amit Ambalal Anonymous Anonymous (Bengal ‘School’) Anonymous (Early Bengal School) Anonymous (Early Bengal, Kalighat Style) Anonymous (Kalighat Pat Anupam Sud Arpana Caur Arun Bose Arup Das Asit Haldar B. N. Arya B. Prabha Badri Narayan Bijan Choudhury Bikash Bhattacharjee Bireswar Sen C. Douglas Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dattatraya Apte Dharamanarayan Dasgupta F. N. Souza G. Reghu Gogi Saroj Pal Gopal Ghose Gopal Sanyal Haren Das Indu Rakshit J. Sultan Ali Jagadish Dey Jai Zharotia Jamini Roy Jaya Ganguly Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Kanchan Chander Kartick Chandra Pyne Krishen Khanna Kshitindranath Mazumdar Laxman Pai M. F. Husain Madhvi Parekh Mukul Dey Navjot Nemai Ghosh Nikhil Biswas P. S. Chander Shekar P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rabin Mondal Radhacharan Bagchi Raja Ravi Varma Rameshwar Broota Ranbir Singh Kaleka S. Dhanapal Sakti Burman Sanat Chatterjee Sanat Kar Satish Gujral Satish Sinha Shyamal Dutta Ray Somnath Hore Stefan Norblin Subba Ghosh Sudhir Khastgir Sukhvinder Singh Sunil Das Sunil Madhav Sen Thota Vaikuntam Tyeb Mehta V. Nageshkar

Learn More