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In February, Paris' Centre Pompidou--a premier centre for modern art since its construction in 1977--mounted an extensive solo show looking back at S. H. Raza’s career in painting. It represents a historic moment for Indian modern art’s international story as it unfolded over the twentieth century, and also marked Raza's own symbolic return to the place where he stayed for most of his working life. The fertile post-independent period saw cross-cultural connections being forged by Indian artists in Europe and America on their own terms and this show is a testament to Raza’s evolving encounters with land and mythology. The curators, Catherine David and Diane Toubert, spoke to DAG highlighting some of the takeaways from this major retrospective.

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DAG Museums in collaboration with the Victoria Memorial returns with the second edition of 'Play Fair,' a two-day carnival of games inspired by the art and artists from the DAG collection. Spread over two days on the splendid lawns of the memorial, this lusory experience is an invitation to immerse yourself in Bengal art, culminating with an after-hours concert by The Big Other. 

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DAG Museums in collaboration with the Victoria Memorial returns with the second edition of 'Play Fair,' a two-day carnival of games inspired by the art and artists from the DAG collection. Spread over two days on the splendid lawns of the memorial, this lusory experience is an invitation to immerse yourself in Bengal art, culminating with an after-hours concert by The Big Other. 

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Prabhakar Barwe (1936-95) could well have ended up a theoretician whose book 'Kora Canvas' (Blank Canvas) was a manifesto that established the multi-dimensional relationship between an artist, the object on which he paints, and his subjects. That he was not just an intellectual scholar but an artist whose work speaks for him, is evident through a range of works in which Barwe dissects our understanding of the world and how we view it. Taking commonplace objects and our perception of their existence in the space they occupy, he shifts the dialogue to a point of discomfiture that makes us question our understanding of them. Using scale, discordant juxtapositions, and displacements, he reimagines the everyday in a manner that is thought-provoking, even provocative, as alternate realities—whether perceived or imagined.

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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

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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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

The wash technique has come to be associated in India with the art of the Bengal School, but the story of its origins in India takes us back to an era of rich cultural exchanges. In the early twentieth century artists like Abanindranath Tagore were trying to imagine a pan-Asian cultural identity, and they turned for inspiration to traditions from across Persia to Japan. Rabindranath Tagore's friendship with Okakura Kakuzō occasioned the arrival of several Japanese artists in Kolkata, such as Yokoyama Taikan, Hishida Shunsō and Katsuta Shōkin. While the latter found inspiration in the Hindu epics, artists in Bengal adapted techniques that were used by the Japanese, such as the wash technique or the subtle use of ink and brush. Since then, the wash technique has been interpreted widely by individual artists, offering an ethereal quality of light to their works, or, in some cases, like for Gaganendranath Tagore and Prosanto Roy, new possibilities of painting in various shades of darkness.

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A painter with a strikingly elegant bearing, Jehangir Sabavala was born on 23 August 1922 in an affluent Parsi family in Bombay and grew up in an intellectually charged environment. He studied at Elphinstone College, Bombay, before graduating from Sir J. J. School of Art in 1944. Thereafter, he studied at some of the leading art schools of Europe—The Heatherly School of Art, London (1945-47), Académie André Lhote, Paris (1948-51), Académie Julian, Paris (1953-54), and Académie de la Grande Chaumière, Paris (1957). Learn More

Manifestations VI features an assortment of seventy-five significant artists curated from its collection. Not organised around theme or style, Manifestations features a single work or a related series of works by each chosen artist, which reflect an important facet of their unique artistic journeys. Usually dominated by 20th century modern Indian art, Manifestations VI features works spanning three centuries, from a ‘Company Painting’ set in Tirunelveli district, Tamil Nadu, done by Thomas Daniell for the East India Company in the 1790s, to an Early Bengal work of a ferocious Kali astride a supine Shiva, to several 20th century modern works. A A. Raiba Ambadas Amitava Anonymous (Early Bengal) Asit Kumar Haldar Avinash Chandra Amitava N. Arya Benode Bihari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen Charan Bagchi Chintamani Kar Chittaprosad P. Roy Chowdhury Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi George Keyt Gopal Deuskar Gopal Ghose Gulammohammed Sheikh Himmat Shah Indra Dugar J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel Jyoti Bhatt Jogen Chowdhury K. C. S. Panicker K. K. Hebbar K. Laxma Goud K. S. Kulkarni Khagen Roy Kshitindranath Majumdar Laxman Pai M. A. R. Chughtai M. F. Husain M. F. Pithawalla M. V. Dhurandhar N. S. Bendre Nandalal Bose Nikhil Biswas P. Khemraj P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prodosh Das Gupta Prokash Karmakar R. Vijaiwargiya Rabin Mondal Raja Ravi Varma Ram Kumar Rameshwar Broota Ramkinkar Baij Ranbir Singh Kaleka Rasik Durgashankar Raval Radha Charan Bagchi S. H. Raza Satish Gujral Shanti Dave Shobha Broota Shyamal Dutta Ray Sohan Qadri Somnath Hore Suhas Roy Sunil Das Thomas Daniell Tyeb Mehta V. Nageshkar V. S. Gaitonde V. Viswanadhan

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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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