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A creative response guide on exploring multiple historical perspectives through artworks and archival material on the fall of Tipoo Sultan.

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A sketching and reading session with art historian Debdutta Gupta on the artistic practice of assemblage centred on the text Khuddur Jatra by Abanindranath Tagore.

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The Story of Bengal Art presents a panoramic view of the evolution of visual arts in the region. The final episode, presented by artist and academician, Prof. Chhatrapati Dutta, speaks of the fractious modernism that marks Bengal art in the mid and late 20th century. The series was shot in the majestic galleries of DAG's Ghare Baire museum-exhibition at Kolkata's Currency Building.

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The Story of Bengal Art presents a panoramic view of the evolution of visual arts in the region. The story of the first episode, presented by artist, academic, and curator, Dr. Paula Sengupta, begins in the late 18th century with the arrival of the first European traveling artists. The series was shot in the majestic galleries of DAG's Ghare Baire museum-exhibition at Kolkata's Currency Building. Learn More

Works of art made by Indian artists for Western patrons in the early colonial period are what we now call Company Painting. The artists, who might otherwise have worked for an Indian court, sought new markets among those employed in various capacities by the European trading companies, and especially the British East India Company. Some patrons supplied the artists with new materials such as European-made paper and transparent watercolour pigments, and expressed preferences regarding subject matter, leading to new departures in both style and substance in Indian art. One of the most delightful genres of Company Painting was natural history: images of India’s plants, animals, and birds. Company Painting Company Paintings British Era

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At the three-day show, DAG will present Celebrating the Modern, an ode to the vibrancy of Indian art with a hand-picked selection that guides us through the development of Indian modernism through diverse movements and genres—a tribute to its appeal that has extended beyond time to be part of a distinctive global language.

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Born in 1922, pioneering modernist sculptor Ardeshir M. Davierwalla—fondly called Adi—was a pharmaceutical chemist by training; he went to school in Coonoor, Tamil Nadu, and studied pharmaceutical engineering at the Victoria Jubilee Technical Institute (now known as the Veermata Jijabai Technological Institute) in Bombay. Learn More

Modernist sculptor Amar Nath Sehgal was one of the earliest Indian artists to take legal action under the Indian Copyright Act defending his moral right over his work. In 1957, Sehgal created a mural for Vigyan Bhavan, New Delhi, on a government commission, which was pulled down without his permission or any intimation in 1979. Sehgal went to court and won the lawsuit. Learn More

Recognised for her contributions to the growth of printmaking in India, Anupam Sud is considered one of the most significant artists of India. Her works depict strong anatomical beings that can be traced back to her father’s love for bodybuilding. She attributes her influences to theatre, classical music, and detective stories, and artistic growth to renowned artist Somnath Hore, with whom she formed a close association. Learn More

This exhibition is significant as it marks one of the largest-ever shows of the Progressives and their associate members. It also celebrates the genesis of the Progressive Artists’ Group in Bombay in 1947 and its continued link with the city. Akbar Padamsee Bal Chhabda F. N. Souza H. A. Gade K.H. Ara Krishen Khanna M. F. Husain Mohan Samant Ram Kumar S. H. Raza S. K. Bakre Tyeb Mehta V. S. Gaitonde

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Do we view things differently as we grow older? What are the perspectives that matter most when viewing art? Do we see things differently as men and women? Do we see art differently as men and women? How does one’s gender impact the creation of art? In the months leading up to ‘Ways of Seeing’, these were some of the questions we posed to ourselves, and we wish we could say that we found a generic, universal response, for there are as many standpoints and views as there are viewers and people. Amrita Sher-Gil Anjolie Ela Menon Anupam Sud Arpana Caur B. Prabha Devayani Krishna Elizabeth Brunner Gogi Saroj Pal Jaya Ganguly Kanchan Chander Kavita Nayar Latika Katt Madhvi Parekh Mrinalini Mukherjee Nalini Malani Navjot Nilima Sheikh Rekha Rodwittiya Shobha Broota Sunayani Devi Vasundhara Tewari Broota Zarina Hashmi Akbar Padamsee Avinash Chandra B. C. Sanyal Baburao Painter Bikash Bhattacharjee D. P. Roy Chowdhury Dharamanarayan Dasgupta Dhruva Mistry F. N. Souza G. R. Santosh Ganesh Pyne George Keyt Haren Das Jagadish Dey Jamini Roy Jogen Chowdhury Jyoti Bhatt K. H. Ara K. S. Kulkarni Khagen Roy Krishen Khanna M. F. Husain M. Suriyamoorthy M. V. Dhurandhar Nandalal Bose P. T. Reddy Prokash Karmakar Sakti Burman Satish Sinha Sudhir Khastgir Sunil Das V. Nageshkar

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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

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