Search results for: 'view of folk style tradition in indigenous art of jamini roy shodkosh'

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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A journey through the decades post the 1950s in Pakistan with art historian Simone Wille, from the University of Innsbruck, exploring the works of pioneering artists who looked to history and tradition to develop new visual languages, while also creating dialogues globally through travel. 

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The exhibition Tantra on the Edge: Inspirations and Experiments in Twentieth Century Indian Art is a pioneering attempt to gather together works of sixteen prominent Indian artists under the single thematic rubric of the transient but least definable phases of contemporary art in the last century. The exhibition features the artworks, inspirations, and experiments, of artists that had a sustained relationship with tantra philosophy, its vivid, abstract, sacred symbols, or their personal spiritual illuminations. Biren De G. R. Santosh Gogi Saroj Pal J. Swaminathan Jyoti Bhatt K. C. S. Paniker Manu Parekh P. T. Reddy Prabhakar Barwe R. B. Bhaskaran S. H. Raza Satish Gujral Shobha Broota Sohan Qadri Sunil Das V. Viswanadhan

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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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Born in a Bombay-based business family, J. Sultan Ali’s first act of rebellion was to leave the safety of the family trade and join sculptor-teacher D. P. Roy Chowdhury at the Government College of Art in Madras in 1945. He also studied textile design at the Madras Government Textile Institute, and pursued a photography course in London. Learn More

Danish artist Hugo Vilfred Pedersen was born on 25 January 1870 in Copenhagen, where he studied at the Royal Academy of Fine Arts before heading to the East on painting expeditions.

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Born and brought up in Benaras, Biswanath Mukerji left home as a teenager to become an artist. From 1939-45, he studied at the Government School of Arts, Lucknow, under Asit Kumar Haldar, Lalit Mohan Sen, Hiranmoy Roychoudhuri, and Bireswar Sen. He learnt to paint watercolours in the wash technique under Haldar, who himself had trained under Abandindranath Tagore. Learn More

Sunayani Devi was born on 18 June 1875 in the Tagore family of talented writers and painters—Nobel-laureate Rabindranath Tagore was an uncle, and Gaganendranath and Abanindranath Tagore were her elder brothers. Essentially a self-taught artist, she witnessed the Bengal renaissance, but it was only in her thirties that she began to paint, encouraged by her husband, the grandson of reformist Raja Ram Mohun Roy. Learn More

Born on 3 March 1919 in Madras, S. Dhanapal trained under sculptor-teacher D. P. Roy Chowdhury at the city’s Government College of Art and Craft. He joined the faculty of his college after completing his studies, and, in 1957, when K. C. S. Paniker was principal, Dhanapal was appointed the head of the sculpture department. He eventually became principal of his alma mater in 1972. Learn More

The city was consolidated over the course of the eighteenth century, and its access to global trade routes helped it grow over the following centuries as well, leading some to describe it as the 'door of the East with its Face to the West'. How did European artists view this growing city?

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Join Tapati Guha-Thakurta for a museum visit and presentation as we explore the beginnings of the colonial traditions of art and design in India through the twin histories of the Indian Museum and the Government College of Art and Craft.

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