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For Shanti Dave, creativity is a consistent and persistent exploration of the word or akshara—a term defined in the Natyashastra as a stroke in musical notes—which he perceives as the source of all creation. Dave’s abstract iconography, beginning in the early 1950s, adapted to modernism, aesthetic continuity and transcultural exchange. He altered, rejected and improvised the archaic image into a resonant form resembling an ancient script.

The exhibition brings together important works of art spanning a wide range of genres, forms, periods and styles. They are grouped by genre and each thematic arrangement features a select collection of artworks that are milestones in Indian modernism, as well as in the development of the artistic language of several of the participating artists. A. A. Raiba Abalall Rahiman Akbar Padamsee Ambadas Amitava Avinash Chandra B. C. Sanyal B. N. Arya Baburao Painter Benode Behari Mukherjee Bikash Bhattacharjee Bipin Behari Goswami Biren De Chittaprosad Devyani Krishna Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel K. H. Ara K. K. Hebbar K. Laxma Goud Kshitindranath Majumdar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manu Parekh Mohan Samant N. R. Sardesai Nandalal Bose Nikhil Biswas P. Khemraj P. S. Chander Sheker P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Sunil Das Surendran Nair Tyeb Mehta V. Nageshkar Vivan Sundaram

Most shows at DAG take time to develop because of the quality of research and scholarship they require to mount, but even by our own exacting standards, Continuum has taken longer than most. This, a retrospective in a sense of the six artists who formed the Progressive Artists’ Group, is seminal because it is for the first time since 1950 that the six artists forming the core group have been brought together in an exhibition of their works. The Progressives have become the rallying point for the modern movement in Indian art, and are considered among the most important artists of the last and current century. Of these, M. F. Husain, F. N. Souza and S. H. Raza dominate the market. Alongside, works by their contemporaries K. H. Ara, H. A. Gade and S. K. Bakre, who have largely been seen to have underperformed in comparison, will help re-draw such distinctions and place them on the same platform as their better-known peers. It will re-define their historical importance and gain them the recognition that is their due. Maqbool Fida Husain M.F.Husain Hari Ambadas Gade Syed Haider Raza Krishnaji Howlaji Ara Sadanandji k. Bakre Francis Newton Souza

This historic exhibition based on the association twenty-seven Indian artists had with art institutions, museums and art movements in Paris throws light on France as a cradle of modernism and what Indian artists gained from this relationship. Akbar Padamsee Amrita Sher-Gil Anjolie Ela Menon Arun Bose Chintamoni Kar Himmat Shah Jehangir Sabavala Jogen Chowdhury K. K. Hebbar Kanwal Krishna Krishna Reddy Laxman Pai Laxman Shrestha Nalini Malani Nasreen Mohamedi Nirode Mazumdar P. Khemraj Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rajendra Dhawan Ram Kumar Sailoz Mukherjea Sakti Burman Sunil Das Syed Haider Raza V. Nageshkar V. Viswanadhan Zarina Hashmi

The idea of primitivism centres on the wish to identify with, or respond to, elements of a society that are deemed ‘primitive’. In artistic terms, it is about rejecting realism, simplifying technique and reducing the formal means of expression to a ‘primitive’ state. The term itself is borrowed from discussions of Western art, where high-profile examples include the images of Tahiti and its people made in the 1890s by Paul Gauguin, and responses to African sculpture by Pablo Picasso in 1906-09. The second thread of primitivism—the reduction of formal means—is best exemplified by the ‘cut-outs’ made by Henri Matisse in the 1940s.

A print is an original work of art created and printed by hand by an artist or a professional printing assistant from a ‘matrix’—a plate, block of stone, wood or stencil. The image is created on the matrix and the artist takes a limited number of impressions or prints off it. These impressions are numbered and signed by the artist and belong to a limited edition, and this makes the print an original work of art and not a reproduction. Printmaking consists of a wide range of processes: relief printmaking which consists of techniques like engraving, woodcut and linocut; planographic processes such as lithography and oleography, intaglio processes such as drypoint, etching, aquatint, mezzotint, photo processes and collography; and serigraphy, where the image is printed through a silk screen on to the paper. A P Bagchi A Ramachandran Abanindranath Tagore Ajit Dubey Akhilesh verma Akkitham Naryanan Amitabh Banerjee Amitava Anonymous Print Anupam Sud Arun Bose B P Banerjee Basudev Roy Bengal Lithograph Bengal Oleographs Bengal Woodcut Benod Behari Mukherjee Bhupen Khakhar Bijan Choudhury Chittaprosad Daniell William Devraj Dakoji Devyani Krishna Francis N Souza F. B Solvyns Ganesh Haloi Gulam Sheikh Haren Das Himmat Shah Indu Rakshit Indumati Roop Krishna Jagdish Dey Jagmohan Chopra Jai Zahrotia Jamini Roy Jyoti Bhatt K Laxma Goud K V Haridasan Krishna Ahuja Krishna Reddy Lalu Prasad Shaw M F Husain M. V Dhurandhar Madhvi Parekh Maniklal Banerjee Manu Parekh Moti Zahrotia Mrinalini Mukherjee Mukul Dey Nagji Patel Nalini Malani Nandalal Bose Navjot Paneer Selvam Partha Pratim Deb Portrait Punjab Litho Qamrool Hassan R B Bhaskaran Rabin Mondal Radha Charan Bagchi Ram Kumar Ramendranath Chakravorthy Ramkinkar Baij Rani Dey Ravi Varma Press Ravi Varma Print Rini Dhumal Sakti Burman Sanat Kar Satish Gujral Shobha Broota Shyamal Dutta Ray Somnath Hore Sudhir Khastgir Sunil Das Sunil Madhav Sen Suren Gangooly Sushanta Guha Sushil Sen Suvaprasanna Tapan Bhowmik Tarak Basu Thoman Daniell V Vishwanadhan Various Litho and Olio Vijay Bagodi Vinayak Masoji Vivan Sundaram Walter D’Souza Yogesh Rawal Zainul Abedin

In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.