Search results for: '6.1(CVSS:3.0/AV:N/AC:L/PR:N/UI:R/S:C/C:L/I:L/A:N)'

How did the idea of Indian art come to be constructed over the last century and more? The painstaking work of collectors and curators went a long way towards establishing the history of art in India. In this article we highlight some of the most significant collectors of art from South Asia over the course of the twentieth century. Usually starting as personal collections, most of them would eventually donate their works to museums in India or abroad, allowing these rare works to be seen regularly by new generations of art enthusiasts across the world. Their collections, curated exhibitions and publications fashioned the canons of Indian modern and pre-modern art

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Born into a family of artists in Lahore on 21 September 1897, M. Abdur Rahman Chughtai learnt to draw from his father, Mia Karim Baksh. He joined Mayo School of Art in Lahore in 1911, where Samarendranath Gupta, a pupil of Abanindranath Tagore, was vice-principal. He obtained a diploma in photo lithography from Mayo School in 1914, where he went on to become the head instructor in chromo-lithography. He honed his printmaking skills during visits to London in the mid-1930s and exhibited his works across Europe; he also exhibited with Indian Society of Oriental Art in Calcutta around this time. Learn More

The DAG Archive has over 90,000 photographs taken by Nemai Ghosh, a bulk of which includes still photographs and behind the scenes images of films as well as candid and staged portraits of Satyajit Ray. In conjunction to these materials, DAG Archive has also acquired a set of two notebooks of Ray which contains the hand-written film scripts of <i>Ghare Baire</I> (The Home and The World, 1984) and Samapti (The Conclusion) which is one of the short films from the anthology, Teen Kanya (Three Women, 1961). Interestingly, both these films are adaptations from Rabindranath Tagore’s literary works.

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Born in Calcutta on 20 October 1947, Shuvaprasanna is a quintessential painter of the eastern metropolis that he unabashedly loves. He graduated from Indian College of Art, Rabindra Bharati University, Calcutta, in 1969. An active member of Calcutta Painters group, urban themes are a constant in his work. Beset by problems and politics, but possessing great potential, Kolkata has remained his abiding inspiration as he absorbs and responds to its upheavals, the tumult of its masses, and its frequent political turbulence. Learn More

Artists have often formulated their theories and observations to analyse and become aware of the cognitive modes of art making, and to associate with broader contemporaneous art movements. These manifestos become a window into an artist’s process. Prabhakar Barwe’s seminal treatise, <i>Kora Canvas</I> (The Blank Canvas, 1989), exemplifies his deep understanding of the fundamental elements of art and keen observations of nature and his surroundings.

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Group 1890 remains unique in the journey of modern Indian art for various reasons, the most important being J. Swaminathan as the force behind the short-lived collective that held only one exhibition in its lifetime, in 1963. In 2016, DAG organized a ‘second’ exhibition of the group, featuring works by all its founder members. Learn More

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The Story of Bengal Art presents a panoramic view of the evolution of visual arts in the region. The final episode, presented by artist and academician, Prof. Chhatrapati Dutta, speaks of the fractious modernism that marks Bengal art in the mid and late 20th century. The series was shot in the majestic galleries of DAG's Ghare Baire museum-exhibition at Kolkata's Currency Building.

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The Delhi Durbars were a series of coronation events held by the British in India which formally declared the British monarch as the Emperor or Empress of India. They took place thrice—first, in 1887, acknowledging Queen Victoria as the Empress of India, followed by one in 1903, for King Edward VII, and finally in 1911 for King George V, which saw the monarch’s attendance in person.

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A creative enquiry tool that explores the events leading up to and during the revolt of 1857.

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Jogesh Chandra Seal was an active member of the enthusiastic art scene of Calcutta in the early decades of the twentieth century. However, due to his short life of thirty-one years, he could not leave behind a comprehensive body of work. His academic oil paintings, Untitled (Disappointed), 1919, and Lady Lighting a Diya, 1921, have recently appeared at international auctions, bringing spotlight on this accomplished artist who was closely associated with the values of the Bengal School of painting. Learn More