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Gogi Saroj Pal was one of the earliest women artists of India to paint the female body as a receptacle of patriarchal gaze, a trope that she has continued to explore right through the seventh decade of her life. She speaks with commendable candour in this short video on how art helped liberate her as an individual. Learn More

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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.

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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’.

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Tipu Sultan’s historical legacy has led to several conversations, among which its visual inheritance has provided room for debate on its particularly skewed European view. Catch our guest speaker William Dalrymple’s reflections on this subject.

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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

In a career spanning four decades, Amitava’s location as an artist has determined the authority that he brings to his practice. As an artist studying and working in the 1960s, Amitava Das experienced a decade of fragmented locii. The ’60s, the period of his education at the College of Art, was the decade of wars, fiscal difficulty and an uncertain polity in the wake of the death of Jawaharlal Nehru. Further, as a second generation pravasi (non-residing Indian) Bengali, the roiling political violence of West Bengal’s Naxal movement came to him through the filter of poetry, film and art—much as he would have received the existential writing of Camus, Genet and Rilke. Through the 1960s and ’70s, small groups of artists and filmmakers in different pockets in India had a heightened response: the state of the nation found an uncanny echo in the language of modernism, of the artist’s isolation and purity even within a state of uncertainty.

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Sunayani Devi picked up a paintbrush in 1905 when she was thirty years old while supervising her kitchen duties, self-taught, but with enough talent to attract the critical attention of Stella Kramrisch who organised an exhibition of her paintings in Germany in 1927. It was in her worthy footsteps that India’s women artists followed. Devayani Krishna was born five years after Sunayani Devi began painting; Amrita Sher-Gil already had a career in Paris by the time India’s first art school-trained woman artist, Ambika Dhurandhar, earned her diploma in Bombay. B. Prabha followed next, her work reflecting the realities of the marginalised in a piquant language. By the time Nasreen Mohamedi and Zarina Hashmi, both born a decade before Independence, established their careers, women were joining art schools in greater numbers, validating their practice not on the basis of their gender but on its context. Anupam Sud Devayani Krishna Gogi Saroj Pal Latika Katt Madhvi Parekh Mrinalini Mukherjee Navjot Rekha Rodwittiya Shobha Broota Zarina Hashmi

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Jamini Roy’s was an art of quiet resistance that assimilated so seamlessly into the folk and craft traditions of Bengal that it did not cause any discernible ripples among the prevalent artistic mood. All around him, art was being nurtured, questioned, uprooted—it was, after all, a period when nationalist feelings ran high and a search for an indigenous lexicon was paramount—but Jaminida’s ability to look to tradition for a modern approach, though revolutionary, was instinctively natural and organic. It was art that everyone understood and wanted to take home. No wonder Jamini babu became a household name in his native Calcutta and went on to be honoured as one of the pre-eminent National Treasure artists of the country whose art has the greatest acceptance of any known Indian modernist.

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Amrita Sher-Gil was born in Budapest on 30 January 1913, to a Sikh aristocrat father and a Hungarian mother, who was an opera singer. Learn More

England shaped Altaf’s political consciousness as well as his persona. He engaged in the anti-apartheid demonstration at Trafalgar Square held against the imprisonment of Nelson Mandela; a peaceful protest at the American Embassy opposing the bombing in North Vietnam; the Aldermaston March against the nuclear bomb; the Campaign for Nuclear Disarmament; he became a member of the Youth Wing of the Communist Party of Great Britain (CPGB) and the Young Communist League (YCL). Any examination of the theoretical aspect of Altaf’s work must start with the knowledge that the work in question exemplified an element of ‘existentialist’ thought. 

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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