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This exhibition looks at landscape painting in India over a period of two hundred years, from 1780 to 1980. We start with English artists who travelled in India from the late eighteenth century onwards, to rediscover what they were looking for, and how they saw what they found. The introduction of new materials, and the teaching of new methods in the art schools from the middle of the 19th century, encouraged some Indian artists to adopt similar academic style approaches. In the twentieth century, a reaction set in, as Indian artists sought new modes of expression. As if reclaiming their patrimony and the right to represent it, they invented a glorious array of new landscape styles.

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The Madras Art Movement that emerged in the early 1960s was a late phenomenon of modernity in south India within the national context. It developed as a regional phenomenon that began to take shape from the mid-1950s onwards as a search for authenticity in modernism derived largely from the region’s cultural heritage. D. P. ROY CHOWDHURY A P SANTHANARAJ ACHUTHAN KUDALLUR AKKITHAM NARAYANAN ALPHONSO DOSS C DOUGLAS C J ANTHONY DOSS J. SULTAN ALI K C S PANIKER K M ADIMOOLAM K RAMANUJAM K SREENIVASULU K V HARIDASAN L MUNUSWAMY M SENATHIPATI M SURYAMOORTHY P GOPINATH P PERUMAL P S NANDHAN PANEER SELVAM R B BHASKARAN REDDEPPA NAIDU Rm. PALANIAPPAN S G VASUDEV S. DHANAPAL S. NANDAGOPAL V. VISWANADHAN VIDYASHANKAR STHAPATI

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Born in Margao, Goa, on 21 January 1926, Laxman Pai studied and later taught at Sir J. J. School of Art, Bombay. He participated in Mahatma Gandhi’s Satyagraha movement against the British rule that led to his imprisonment. Later, he participated in the movement to liberate Goa from centuries of Portuguese rule. Learn More

Growing up in Dehradun, Latika Katt learnt to observe everything closely through the numerous trekking expeditions she took with her botanist father. She completed her bachelor’s in fine arts from Banaras Hindu University and later completed her master’s from the Faculty of Fine Arts, M. S. University, Baroda, in 1971. Interestingly, hers was the first art degree batch of the prestigious institution and she was the first female student to receive a gold medal in sculpture from the university. Later, in 1981, she received a research scholarship from the Slade School of Art, London. Learn More

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Among all attempts by foreign artists to present a complete view of India, none is so focused on people as the work of François Baltazard Solvyns, who lived in Calcutta for a decade starting in 1791. While picking up odd jobs, he embarked on an ambitious project to produce a comprehensive survey of ‘the manners, customs, and dresses, of the Hindus’. The first edition contained 250 hand-coloured etchings and was published by Solvyns between 1796 and 1799.

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One of India’s nine national treasure artists, Nandalal Bose (1882—1966) forged a long and glittering career as the foremost artist-pedagogue bridging the late-colonial period and the first few decades after Indian independence. He maintained an active drawing practice throughout his life, with many small sketches done on postcards that he carried around with him as a sort of visual notebook.

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For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

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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

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