Search results for: 'Japan and India have both taken photos of the Apollo 11 lunar module on the moon.'

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India Art Fair is South Asia’s largest platform for showcasing the best of modern and contemporary art from around the world, and DAG’s booth is the most looked forward to by connoisseurs of Indian art in India and overseas. They were not disappointed at this iteration of the fair where its lavish booth was set up to resemble public rooms in a large mansion with teak-panelled walls, pillars, portrait galleries, a private lounge, a media room for interviewing artists and important visitors that was streamed live, and special provisions for curated walks. It also published a daily art newspaper for the duration of the fair for distribution to all visitors. A large book accompanied the display at the booth. K. K. HEBBAR RABIN MONDAL HIMMAT SHAH SAILOZ MOOKHERJEA J. SULTAN ALI AMBADAS K. H. ARA RAMKINKAR BAIJ S. K. BAKRE PRABHAKAR BARWE DHANRAJ BHAGAT BIKASH BHATTACHARJEE NIKHIL BISWAS PESTONJI E BOMANJI NANDALAL BOSE AVINASH CHANDRA CHITTAPROSAD D. P. ROY CHOWDHURY SHANTI DAVE ADI DAVIERWALLA BIREN DE G. R. SANTOSH PARITOSH SEN HENRY SINGLETON M. F. HUSAIN FN SOUZA KALIGHAT J. SWAMINATHAN RABINDRANATH TAGORE L. N. TASKAR KRISHEN KHANNA RAMGOPAL VIJAIVARGIYA RAM KUMAR JEHANGIR SABAVALA HIMMAT SHAH EARLY BENGAL OIL H. A. GADE MOHAN SAMANT S H RAZA JAMINI ROY GEORGE KEYT B PRABHA PROKASH KARMAKAR K LAXMA GOUD RANBIR KALEKA P. KHEMRAJ DEVYANI KRISHNA VED NAYAR K C S PANIKER GIEVE PATEL PORTRAIT A. RAMACHANDRAN PROSANTO ROY V. VISWANADHAN RAM KUMAR RAVINDER REDDY

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This exhibition is significant as it marks one of the largest-ever shows of the Progressives and their associate members. It also celebrates the genesis of the Progressive Artists’ Group in Bombay in 1947 and its continued link with the city. Akbar Padamsee Bal Chhabda F. N. Souza H. A. Gade K.H. Ara Krishen Khanna M. F. Husain Mohan Samant Ram Kumar S. H. Raza S. K. Bakre Tyeb Mehta V. S. Gaitonde

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Sohan Qadri was born in a wealthy farming family in Punjab’s Chachoki village on 2 November 1932. When he was seven, he came across two spiritualists living on the family farm—Bikham Giri, a Bengali Tantric-Vajrayan Yogi, and Ahmed Ali Shah Qadri, a Sufi. Both gurus had a tremendous impact on young Qadri and taught him spiritual ideals through meditation, dance, and music. His association with them heralded a lifelong commitment to spirituality and art. Learn More

Manifestations, DAG’s signature exhibition showcasing the very best of modern Indian art, appears this winter in its landmark tenth edition, bringing together seventy-five of India’s best-known and most established modernists. The artworks are grouped by genre into the categories of mythology, landscape, still-life, figurative, narrative and abstract art, and present the mature styles of the participating artists. Raiba A. M. Davierwalla Abanindranath Tagore Ambadas Arpana Caur Avinash Chandra Benode Behari Mukherjee Bikash Bhattacharjee Biren De Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Early Bengal (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose Haku Shah Hemanta Misra Hemendranath Majumdar Himmat Shah Indra Dugar J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. S. Radhakrishnan Kalighat Pat (Anonymous) Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Manu Parekh Meera Mukherjee N. S. Bendre Nandalal Bose Dharamnarayan Dasgupta Nikhil Biswas P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Piloo Pochkhanawalla Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Raghav Kaneria Raja Ravi Varma Ramkinkar Baij S. Dhanapal S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunayani Devi Sunil Das Sunil Madhav Sen Thota Vaikuntam V. Nageshkar

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Sohan Qadri was truly a global artist whose travels and practice spanned India, its Himalayan neighbours, Africa, Europe and Canada. His paintings can be summed up as yantras that serve as visual meditation tools. Invocation – 27 is a vibrant sea of yellow ochre with a band of blue in the middle. A captivating work, Geeti Sen explains, the painting serves to offer viewers a profound experience of transformation and self-discovery.

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Also known as Company School, this genre is the Indo-European style of painting made in India by Indian artists, most of whom worked under the patronage of the East India Company. Focusing on a spectacular painting, William Dalrymple takes us through a journey of this neglected yet outstanding genre of art from nineteenth century India.

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On the thirtieth year of DAG’s presence in the Indian art landscape, we are especially delighted to share with our readers the first issue of our Journal. DAG has upheld a high quality of research through exhibitions and publications that have shaped how people understand Indian modern art. Through this journal, we want to keep those discussions going and point towards newer ways to approach the period of modernism—joining the dots that lead those significant artistic breakthroughs into the contemporary. We also want to create a space where readers can gain privileged access into the people and organizations who works around the clock to keep the art world ticking.  

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The India International Centre at New Delhi, in collaboration with the Amar Nath Sahgal Trust, presented a large suite of works by Amar Nath Sahgal (1922—2007), one of post-independent India’s foremost sculptors, in order to celebrate his centenary year in March 2023. 

 

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This exhibition takes us on a journey into the lives and works of artists from a diverse range of traditions and practices. Despite differences in technique, philosophy and politics, they are united by an attempt to forge a new language of Indian art which rebels against existing visual vocabularies while seamlessly combining influences from European modernism and the rich history of visual arts from South Asia. This assimilation is achieved in different ways. From M. F. Husain’s figurative renditions of Indian deities to the many languages of abstraction developed by artists like Ram Kumar, Ganesh Haloi and others—we see artists responding variously to the socio-cultural problems of a post-colonial nation.

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An ‘India wanderer’, as he liked to call himself, Gopal Ghose spent his formative years away from Calcutta, where he was born on 5 December 1913. His art training began at the Maharaja School of Arts, Jaipur. From 1935-38, Ghose studied at the Government College of Art and Craft, Madras. Once, while painting on the Marina beach in Madras, he caught the attention of C. Rajagopalachari—statesman, activist, writer and leader of the Indian National Congress—who offered to arrange his further studies abroad, which the college authorities, however, did not permit. Learn More