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A workshop on making botanical pigments with the Patachitrakars at Naya Village, who will share their songs and painted scrolls.

Conversations, sketches and readings on Benode Behari Mukherjee’s practice and his experiments with pigment making, with Sampurna Chakraborty.

An interactive session with artist Maksud Ali Mondal on how his work with pigments from rocks, fungi and silt addresses transforming environments.

Works of art made by Indian artists for Western patrons in the early colonial period are what we now call Company Painting. The artists, who might otherwise have worked for an Indian court, sought new markets among those employed in various capacities by the European trading companies, and especially the British East India Company. Some patrons supplied the artists with new materials such as European-made paper and transparent watercolour pigments, and expressed preferences regarding subject matter, leading to new departures in both style and substance in Indian art. One of the most delightful genres of Company Painting was natural history: images of India’s plants, animals, and birds. Company Painting Company Paintings British Era

This Untitled painting, created in the early-to-mid-1970s, reflects Shanti Dave's fervent experimentation during a prolific period marked by international recognition in mural making and exhibitions. Drawing inspiration from childhood memories of Badapura and nearby archaeological ruins, the abstract composition blends colour pigments, beeswax, and oil solutions in a dynamic interplay. Employing a reverse image technique with molten wax, the painting challenges perceptions and invites contemplation on the nature of truth. Noted fashion designer and art-collector Tarun Tahiliani explains the nuances of Shanti Dave’s work in a film specially created on the painting.

Natvar Bhavsar: Colour Pigments of the Universe

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

The colours we see around us are a complex network of visual signifiers. Like spoken dialects, each colour contains multiple—at times conflicting—meanings that are moulded by a universal base and many regional variances. A. A. Almelkar A. H. Müller A. P. Santhanaraj Abalall Rahiman Abanindranath Tagore Ahmed Amir Altaf Ambadas Amit Ambalal Amitava Anonymous Anupam Sud Avinash Chandra Benode Behari Mukherjee Bijan Choudhary Biren De Bireswar Sen Bishamber Khanna Bishnupada Roy Chowdhury Chittaprosad D. C. Joglekar D. P. Roy Chowdhury Dattatraya Apte Devayani Krishna Devraj Dakoji Dharamanarayan Dasgupta F. N. Souza G. R. Iranna G. R. Santosh G. S. Haldankar Ganesh Haloi Gobardhan Ash Gogi Saroj Pal Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gonsalves J. Sultan Ali Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kanwal Krishna Kavita Nayar Krishna Reddy Lalit Mohan Sen Laxman Pai M. F. Husain M. K. Parandekar M. R. Acharekar M. S. Joshi Madhvi Parekh Manu Parekh Nand Katyal Nandalal Bose Natvar Bhavsar Navjot Nicholas Roerich Nikhil Biswas Om Prakash P. Khemraj Paramjit Singh Paresh Maity Paritosh Sen Partha Pratim Deb Prabhakar Barwe Prokash Karmakar Rabin Mondal Radha Charan Bagchi Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranen Ayan Dutta S. H. Raza S. K. Bakre S. L. Haldankar Sanat Chatterjee Sanat Kar Sankho Chaudhuri Satish Gujral Shanti Dave Shobha Broota Somnath Hore Sudhir Khastgir Sunayani Devi Sunil Das V. B. Pathare Vasundhara Tewari Broota Vivan Sundaram Walter Langhammer