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The 1960s was a period of immense change around the world, and it had deep ramifications on India’s socio-political scenario. The country had left behind the jubilation of Independence and was feeling the pinch of a nation grappling with the issues of development that impacted society and environment. A war with China in 1962 and Pakistan in 1965 had far-reaching implications on the national psyche— the first of shame, the latter of pride. Crippling shortages and unemployment were impacting life, even as the country’s success with the Green Revolution was directed at self-sufficiency. Migration from the villages to urban centres was increasing. Disparities—economic, gender or class—provided fertile ground for the alienation of the other. The more anglicised among the youth found themselves being drawn into the vortex of a global hippie movement. A. A. RAIBA AMBADAS ANUPAM SUD AVINASH CHANDRA BIKASH BHATTACHARJEE BIMAL DASGUPTA DHANRAJ BHAGAT F. N. SOUZA G. R. SANTOSH HIMMAT SHAH J. SULTAN ALI J. SWAMINATHAN JAMINI ROY JERAM PATEL JOGEN CHOWDHURY JYOTI BHATT K. G. SUBRAMANYAN K. LAXMA GOUD KRISHEN KHANNA LAXMAN PAI M. F. HUSAIN MADHVI PAREKH P. T. REDDY PARITOSH SEN PRABHAKAR BARWE PRODOSH DASGUPTA PROKASH KARMAKAR RABIN MONDAL RAM KUMAR RAMESHWAR BROOTA S. H. RAZA S. K. BAKRE SAKTI BURMAN SATISH GUJRAL SHANTI DAVE SOHAN QADRI SOMNATH HORE SUNIL DAS ZARINA HASHMI

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The 1970s was a decade like no other for a young India gaining in confidence nationally as well as on the global firmament. In 1971, Prime Minister Indira Gandhi led the country to a decisive victory against Pakistan, leading to the creation of Bangladesh. The Green Revolution had borne fruit, and Operation Flood now launched a milk revolution in the country, and the culmination of the privy purse turned it into a socialist republic with a strong handle on its economic button. Internationally, much was made of India’s resilience, and the country’s soft power began to win it recognition for its films, fashion, food and culture. India had arrived. ALTAF AMBADAS AMITAVA AVINASH CHANDRA BIKASH BHATTACHARJEE BIREN DE BIRESWAR SEN ERIC BOWEN F. N. SOUZA G. R. SANTOSH GANESH HALOI GOGI SAROJ PAL INDRA DUGAR J. SULTAN ALI J. SWAMINATHAN K C S PANIKER K. K. HEBBAR K. LAXMA GOUD KRISHNA REDDY LAXMAN PAI M. F. HUSAIN MADHVI PAREKH NAVJOT ALTAF P. T. REDDY PARITOSH SEN PRABHAKAR BARWE PRODOSH DASGUPTA PROKASH KARMAKAR RABIN MONDAL RAJENDRA DHAWAN RAM KUMAR S G VASUDEV SATISH GUJRAL SHANTI DAVE SHYAMAL DUTTA RAY SOHAN QADRI TYEB MEHTA V. VISWANADHAN ZARINA HASHMI

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The most definitive painter of the portraits of the Sikh gurus, Sobha Singh was born on 29 November 1901 at Gurdaspur in the Punjab. Interested in the arts since childhood, he learnt to draw and sculpt on his own, the early death of his parents depriving him of formal training in art. He joined the British Indian army as a draughtsman and continued to learn from studying the works of English and European artists. Learn More

Born in 1899 in the village of Verka near Amritsar, S. G. Thakar Singh showed early aptitude for the arts by drawing on the walls of his home with coal. With no formal training, he went on to excel in the academic style of painting, rendering stunning landscapes, portraits and still-lifes. He apprenticed under local artist Mohd. Alam and moved with him to Bombay when the latter found a job as a stage artist with a theatre company. Learn More

Born in Amritsar on 23 February 1935, Paramjit Singh studied art at Delhi Polytechnic from where he completed a diploma in 1958. About a decade later, he went to Norway to study printmaking at Atelier Nord. Learn More

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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'Iconic Masterpieces of Indian Modern Art' is an exhibition specially curated to commemorate the opening of DAG’s new galleries at the Taj Mahal Palace in Mumbai. The pathbreaking exhibition of some of the finest nineteenth and twentieth century art related to India consists of fifty outstanding works, each of them exceptional for their historicity, rarity, and quality. Established in 1993, DAG has created an enviable reputation over the decades for its collection and exhibitions of twentieth century art. But with 'Iconic Masterpieces of Indian Modern Art', it draws attention to its growing strength in nineteenth century art, a new area that it has now committed itself to with a growing inventory of Western artists who travelled to India to paint, as well as Indian artists whose identities have remained unknown for lack of adequate documentation. The earliest work in this exhibition, dated 1805-10, is of one of the largest recorded Company Paintings, and concludes with a rare sculpture cast as recently as 2021 in Indonesia. Ramachandran Adi Davierwalla Ambadas Avinash Chandra Bikash Bhattacharjee Dhanraj Bhagat Early Bengal Oils Edwin Lord Weeks F. N. Souza Frank Brooks G. R. Santosh Ganesh Haloi J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury K. C. S. Paniker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Radhakrishnan Krishen Khanna Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Madhvi Parekh Marius Bauer Natvar Bhavsar Nicholas Roerich Nikhil Biswas Paritosh Sen Prabhakar Barwe Rabin Mondal Rabindranath Tagore Rajendra Dhawan Ram Kumar Rameshwar Broota Ramgopal Vijaivargiya Ramkinkar Baij Ranbir Singh Kaleka Satish Gujral Shanti Dave Sohan Qadri Stefan Norblin Studio of Raja Ravi Varma Sunil Das Tyeb Mehta Company Paintings

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For its debut participation in the modern section of Art Dubai 2017, DAG focussed on the unconventional theme of Neo-Tantra as a way of bringing India’s unique school of abstraction to global attention. The booth featured works by two of the country’s leading practitioners of this school—G. R. Santosh and Biren De. The stunning, colour- and energy-filled canvases drew all eyes towards itself, making it the singularly most-visited booth in the section.

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Much of Indian modernism is enriched by the work that some of its best known artists produced after they had left the country, choosing as home another land. F. N. Souza was among the first to leave, in 1949, to head for London, where a successful practice catapulted him to the top of Britain’s artists. He was followed, in 1950, by S. H. Raza, who settled in Paris, winning the coveted critics’ award (Prix de la critique) in 1956, while others such as Krishna Reddy (Paris and New York), S. K. Bakre (London), Sakti Burman (Paris), Avinash Chandra (London and New York), Mohan Samant (New York), Natvar Bhavsar (New York), V. Viswanadhan (Paris), Sohan Qadri (Copenhagen), Rajendra Dhawan (Paris), Eric Bowen (Oslo), Ambadas (Oslo), and Zarina Hashmi (New York), followed in the 1950s-70s. These fourteen artists, with their diverse styles and concerns in art making, are masters lauded for the sheer range of responses to their environment that their work has registered. However, the question this exhibition forefronts, as its curator Kishore Singh asks, is: ‘Does the artist’s ethnic identity mean art too has an ethnic identity?’ Ambadas Avinash Chandra Eric Bowen F. N. Souza Krishna Reddy Mohan Samant Natvar Bhavsar Rajendra Dhawan S. H. Raza S. K. Bakre Sakti Burman Sohan Qadri V. Viswanadhan Zarina Hashmi

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Eric Bowen was born in Allahabad on 3 May 1929 and received a diploma from the College of Art, New Delhi, in 1959. Though he joined the short-lived Group 1890, his journey to be a part of the significant art movements in the 1960s took root when he and Paramjit Singh started the Group Unknown, a Delhi-based collective of young artists and sculptors. Learn More

Photographer Nemai Ghosh has been the quintessential Satyajit Ray biographer through his decades-long close association with the master filmmaker. Over a lifetime of work, he has built up a vast and valuable photographic archive, now housed at DAG.

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