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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

When we launched the Silver Series in May 2020 as our attempt to stay engaged with art-lovers no longer able to visit our galleries, we were unsure of the response. But the feedback we received was heartening, and it was backed by commensurate sales to prove that the art-loving fraternity supported the initiative and gave it a resounding thumbs-up. J. Sultan Ali Altaf Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Anonymous (Portraiture) K. H. Ara Prabhakar Barwe Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Sakti Burman Avinash Chandra Jogen Chowdhury Sunil Das Prodosh Das Gupta Shanti Dave Rajendra Dhawan M. V. Dhurandhar K. Laxma Goud Satish Gujral Zarina Hashmi K. K. Hebbar M. F. Husain George Keyt Krishen Khanna K. S. Kulkarni Ram Kumar Rabin Mondal S. Nandagopal Laxman Pai Gogi Saroj Pal Madhvi Parekh Jeram Patel Ganesh Pyne Sohan Qadri A. A. Raiba S. H. Raza P. T. Reddy Rekha Rodwittiya Jamini Roy G. R. Santosh Paritosh Sen F. N. Souza Anupam Sud Ramgopal Vijaivargiya

By the end of the century, however, the scene was changing, and infrastructure—following the economic reforms in 1991—began to improve, creating an interest in collecting art. Twentieth century Indian modern art has since been at the forefront of collecting and investing in Indian art, and DAG, which has the largest private collection of Indian art has a marked focus on this period of Indian art. Ambadas F. N. Souza G. R. Santosh George Keyt Jamini Roy K. K. Hebbar Kanwal Krishna Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Nandalal Bose Nemai Ghosh Prokash Karmakar Rabin Mondal

That Anupam Sud is one of the most prominent printmakers in the country is a given, even though it would be unfair to limit so versatile an artist to only being a printmaker. Indeed, her body of work includes paintings, drawings, sculpture, bookmaking—and as you will see through the pages of the book accompanying the exhibition, a record-keeper observing the passage of time with self-portraits that she has undertaken to make periodically. A role-model for generations of artists and printmakers through her work and for her influence as a teacher at the prestigious College of Art, New Delhi, Anupam Sud’s name evokes recognition around the world where she has admirers, collectors of her work, and students who have trained under her.

The DAG booth at India Art Fair has always aspired to provide its thousands of visitors with their most unique art-viewing experience based on rarity, historicity, and quality, raising the bar each year with works of sterling importance in addressing the art history of the subcontinent.  Abanindranath Tagore, Allah Bux, Anonymous (Early Bengal), Dhanraj Bhagat Jamini Roy, Krishen Khanna, Ram Kumar, M. A. R. Chughtai, M. F. Husain, Madhvi Parekh, Nandalal Bose, Nirode Mazumdar, Prabhakar Barwe, S. K. Bakre, Sailoz Mookherjea, Shanti Dave, Sohan Qadri, Thomas Daniell, Raja Ravi Varma, Edwin Lord Weeks, F. N. Souza, M. V. Dhurandhar