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‘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.

DAG invited leading historians of Delhi, Swapna Liddle and Rana Safvi, to explore our archives collection. The items they found there include numerous photographs of the three durbars, taken by prominent photographers of the day. They also include many other objects relating to the durbars, from portraits and medals, to maps and official guidebooks, and to tickets and programmes. Historians in the past have analysed the ideology of the Delhi durbars, but never before has such a collection of the material culture of these events been brought together for display.

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

DAG Museum’s annual festival ‘The City as a Museum’ attempts to explore the various archives, communities and artistic traditions that cohere around the life of a city. Put together, they tell different stories about the city across time and space, from the point of view of neighbourhoods, collections and institutions, but not just limited to those either.

In order to learn more about this unique programme that seeks to explore heritage outside the walls of a traditional gallery or museum, read on!

Any new exhibition brings with it a frisson of excitement, but by any measure India Modern: Narratives From 20th Century Indian Art has been extra special. Most art lovers take Indian modernism for granted—but how many can truly claim to know what it really means. For too many years, the term has been loosely used, with very little awareness of what it includes, or omits. What the West understands and takes as a given is something that in India still remains a mystery, perhaps because art in India cannot strictly be viewed from the same trope as Western art. Perhaps this is true of most countries, but it is especially true of colonised nations where new engagements with art in the West were imposed without the benefit of growing their own local practices organically. This hybrid custom developed at various levels, which makes it exciting when viewed from some distance, but also imposes a challenge. Therefore the question: What does modernism in Indian art imply? Akbar Padamsee Ambadas Anjolie Ela Menon Avinash Chandra B. Prabha Bikash Bhattacharjee Bimal Dasgupta Biren De Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel H.A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jehangir Sabavala Jeram Patel Jogen Chowdhury K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Krishen Khanna Laxman Goud Laxman Pai M. F. Husain Manjit Bawa P. Khemraj P.T. Reddy Rabin Mondal Ram Kumar S. K. Bakre S.H. Raza Sakti Burman Sohan Qadri Somnath Hore Sunil Das

The exhibition presents views of the ancient city of Benares (now Varanasi) as depicted by foreign artists in the nineteenth and early twentieth centuries. 

'The City as a Museum' in an annual art and heritage festival by DAG's Museums Programme. The second edition returned to Kolkata to celebrate the city's rich history of artistic practices and exchange. We travelled across the city and beyond to heritage spaces, artists' homes, and rare collections through unique walks, workshops, talks, performances and more. Explore a snapshot of this journey through photographs by Parameshwar Halder.

A unique academic engagement where professors from diverse disciplines bring their classrooms into the galleries, explore connections between their curriculum and the collection on view and experiment with new ways of teaching through art.

What is the role of collectors and collections or archives in the world of art today? Does it simply allude to practices of producing a consumable past today or does it also aspire to question the ways in which history has been shaped by powerful interventions in the form of artworks, performances and installations?  In this series of conversations, we wanted to explore the idea of collecting recent or contemporary art—and how it inevitably takes us back to the moderns who influenced such practices heavily. 

The series of aquatint prints known as Oriental Scenery represent the single largest and most impressive project by English artists to depict Indian architecture and landscape. Thomas Daniell (1749-1840) and his nephew William Daniell (1769-1837) travelled extensively in India between 1786 and 1793. On their return to Britain they produced many paintings, drawings and prints based on the sketches they had made while travelling. The aquatints were issued in pairs between March 1795 and December 1808. Subscribers who purchased all of them could assemble them into six volumes, each with 24 prints, making up a total of 144 – of which half are shown here.