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Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey. it is this rich legacy of Indian modernism that we hope to explore with The Centum Series which opens a window to the tantalising glimpse of the extraoridnary depth and breadth of its scope and variety. Round numbers are attractive, so we picked one hundred as our choice for this medley of artists and artworks that offers you a unique opportunity to acquire Indian modern art at attractive prices specially tailored for this sale. J. Sultan Ali Altaf Ambadas Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Dattatraya Apte B. N. Arya Radha Charan Bagchi Ramkinkar Baij S. K. Bakre Maniklal Banerjee Ananda Moy Banerji Prabhakar Barwe R. B. Bhaskaran Jyoti Bhatt Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Vasundhara Tewari Broota Sakti Burman Ramendranath Chakravorty Kanchan Chander Avinash Chandra Sankho Chaudhuri Chittaprosad Jagmohan Chopra Jogen Chowdhury M. A. R. Chughtai Thomas Daniell Arup Das Prodosh Das Gupta Haren Das Sunil Das Bimal Dasgupta Shanti Dave Partha Pratim Deb Jagadish Dey Mukul Dey Rajendra Dhawan Indra Dugar Gopal Ghose Nemai Ghosh Subba Ghosh Bipin Behari Goswami K. Laxma Goud Satish Gujral Ajit Gupta S. L. Haldankar Somnath Hore M. F. Husain Prokash Karmakar Sudhir Khastgir P. Khemraj Bose Krishnamachari K. S. Kulkarni Ram Kumar Walter Langhammer Pradip Maitra Hemanta Misra Dhruva Mistry Rabin Mondal A. H. Müller L. Munuswamy V. Nageshkar Reddeppa Naidu S. Nandagopal Ved Nayar Akbar Padamsee Laxman Pai Gogi Saroj Pal Rm. Palaniappan M. K. Parandekar Madhvi Parekh Manu Parekh R. N. Pasricha Ganesh Pyne Sohan Qadri K. S. Radhakrishnan A. A. Raiba Krishna Reddy P. T. Reddy Rekha Rodwittiya Jamini Roy Prosanto Roy G. R. Santosh Paritosh Sen Nataraj Sharma Lalu Prasad Shaw Shuvaprasanna Paramjeet Singh F. N. Souza Anupam Sud Thota Vaikuntam S. G. Vasudev Jai Zharotia Moti Zharotia

2020 marks a special year in mankind’s history and India’s destiny. Often used in reference to development goals, 2020 has taught us to never take things for granted. While humanity has made major leaps, even conquering outer space, nature has shown us how little we know about it, and how little we appreciate what we have. 2020 has taught us to review our values. We have suffered but also been comforted, and we have learned to acknowledge that irrespective of our joys and sorrows, our triumphs and our failures, the world will not stop, it will go on. Husain Rabin Mondal Santosh Jehangir Sabavala Mohan Samant Swaminathan Paramjit Paramjeet Ramgopal Vijaivargiya Seal Singh Dasgupta Haren Das Shanti Dave Jagadish Dhanapal Dhurandhar Bipin Behari Goswami Laxma Goud George Keyt Ara Nandalal Bose Jyoti Bhatt Natvar Bhavsar Eric Bowen Shobha Broota Avinash Chandra Sanat Chatterjee Shiavax Chavda Hebbar Khemraj Krishen Khanna Walter Langhammer Jeram Patel Aroomogam Pillay Raza Reddy Jamini Roy Vasudev Viswanadhan Manu Madhvi Parekh Laxman Pai Dhirendra Narayan Dharamanarayan.

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

Indian modernism is rich in diversity with a dizzying succession of artists who have each carved a niche for themselves in the rich firmament of art practice in the country. Open to influences from the West, reaching deep into the roots of their own culture, exploring and experimenting across mediums, absorbing ideas, reinterpreting established norms, Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey.

Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey. it is this rich legacy of Indian modernism that we hope to explore with The Centum Series which opens a window to the tantalising glimpse of the extraoridnary depth and breadth of its scope and variety. Akhilesh J. Sultan Ali Altaf Ambadas Amit Ambalal Amitava Anonymous (Early Bengal) Dattatraya Apte Radha Charan Bagchi Ramkinkar Baij S. K. Bakre Prabhakar Barwe R. B. Bhaskaran Jyoti Bhatt Natvar Bhavsar Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Shobha Broota Sakti Burman Avinash Chandra Chittaprosad Jagmohan Chopra Bijan Choudhary Jogen Chowdhury Anita Roy Chowdhury D. P. Roy Chowdhury Thomas Daniell Haren Das Sunil Das

When we launched the Silver Series in May 2020 as our attempt to stay engaged with art-lovers no longer able to visit our galleries, we were unsure of the response. But the feedback we received was heartening, and it was backed by commensurate sales to prove that the art-loving fraternity supported the initiative and gave it a resounding thumbs-up. J. Sultan Ali Altaf Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Anonymous (Portraiture) K. H. Ara Prabhakar Barwe Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Sakti Burman Avinash Chandra Jogen Chowdhury Sunil Das Prodosh Das Gupta Shanti Dave Rajendra Dhawan M. V. Dhurandhar K. Laxma Goud Satish Gujral Zarina Hashmi K. K. Hebbar M. F. Husain George Keyt Krishen Khanna K. S. Kulkarni Ram Kumar Rabin Mondal S. Nandagopal Laxman Pai Gogi Saroj Pal Madhvi Parekh Jeram Patel Ganesh Pyne Sohan Qadri A. A. Raiba S. H. Raza P. T. Reddy Rekha Rodwittiya Jamini Roy G. R. Santosh Paritosh Sen F. N. Souza Anupam Sud Ramgopal Vijaivargiya

The exhibition, Indian Divine, begins with the late nineteenth century art on mythological and religious themes from regions as diverse as Bombay and Bengal—these include Western style oil paintings of deities by such well-known artists of the academic realist styles as Raja Ravi Varma and M. V. Dhurandhar, and mythological/ religious episodes and figures featured in the hybrid style, a mix of Western realistic painting and traditional Indian art and concerns—the Early Bengal style, a very popular form, of which the exhibition presents over fifty works. It goes on to document Kalighat paintings on religious and mythological themes from the late nineteenth and early twentieth centuries that were very popular, as well popular bazaar prints on these themes that flooded the markets with the advent of lithography and mechanical printing. 19th-20th century Popular Print Art School Print A. A. Almelkar A. A. Raiba A. P. Bagchi Asit Haldar B. C. Law B. N. Jija Baburao Painter Bat-tala Print (Anonymous) Bikash Bhattacharjee Bipin Behari Goswami Bishnupada Roychowdhury Chittaprosad D. B. Onkar D. D. Burman D. N. Sharma Debabrata Chakraborty Devyani Krishna Dhanraj Bhagat Dhirendra Narayan Dhruva Mistry Dipen Bose Early Bengal Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal Haren Das Heramba Kumar Ganguly Indu Rakshit J. Sultan Ali Jamini Roy K. C. Pyne K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kalighat pat (Anonymous) Kalipada Ghoshal Kamal Chattopadhyay Kanwal Krishna Krishen Khanna Kshitindranath Majumdar Laxman Pai M. F. Husain M. V. Dhurandhar Madhvi Parekh Mukul Dey Nandalal Bose Nihar Ranjan Sengupta P. T. Reddy P. V. Janakiram R. Vijaivargiya Rabin Mondal Radha Charan Bagchi Raja Ravi Varma Ramananda Bandhopadhyay Ramendranath Chakravorty Ranada Charan Ukil Ravi Varma School (Anonymous) Reddappa Naidu Roopkrishna S. Dhanapal S. G. Vasudev Sanat Chatterjee Sanjay Bhattacharya Sarada Charan Ukil Shyamal Dutta Ray Sohan Qadri Sudhanshu Ghosh Sudhir Ranjan Khastagir Sunil Das Sunil Madhav Sen Surendranath Ganguly V. Nageshkar

By the end of the century, however, the scene was changing, and infrastructure—following the economic reforms in 1991—began to improve, creating an interest in collecting art. Twentieth century Indian modern art has since been at the forefront of collecting and investing in Indian art, and DAG, which has the largest private collection of Indian art has a marked focus on this period of Indian art. Ambadas F. N. Souza G. R. Santosh George Keyt Jamini Roy K. K. Hebbar Kanwal Krishna Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Nandalal Bose Nemai Ghosh Prokash Karmakar Rabin Mondal

‘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.

This collection of essays, co-edited by eminent scholars of art history, Tapati Guha-Thakurta and Vazira Zamindar, navigate the fraught religio-political contexts of South Asia to bring into relief the fragility and amorphous nature of a contested term like the ‘secular’.

This exhibition looks at the diverse range, moods and styles that primitivism has taken in India, some artists practicing entirely in that style, while others experimenting with it in part, or sporadically. One can count simplicity and a move away from sophistication as key components, as also an inclination or at least a nod towards the folk. The exhibition does not attempt to be a comprehensive survey of India’s primitivists—there are others who would bear inclusion—but is an attempt to understand a body of work and how, given its Western countenance, it can be understood in the Indian context. More than anything else, it offers a clearer view than in the past of what primitivism might mean in the context of modern Indian art. Amrita Sher-Gil F. N. Souza George Keyt Himmat Shah J. Sultan Ali Jamini Roy Jogen Chowdhury K. G. Subramanyan K. S. Kulkarni M. F. Husain Madhvi Parekh Mohan Samant Rabin Mondal Rabindranath Tagore Ramkinkar Baij Sunayani Devi

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