Search results for: 'Portrait of a Painter Surrounded by his own Images'

The Dutch artist Marius Bauer was born on 25 January 1867 at The Hague, the Netherlands, to a stage painter who encouraged his son’s early interest in drawing.

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One of India’s most important post-modernist painters, Sunil Das is known for his iconic drawings and paintings of horses and bulls. He rose to prominence early when he became the only Indian artist to win the Lalit Kala Akademi’s national award while still an undergraduate student, in 1959. Learn More

Diana Campbell is the Artistic Director of the Samdani Art Foundation, now in its 10th year, and chief curator of the prestigious Dhaka Art Summit, whose sixth edition starts on February 3, 2023. She spoke with the DAG Journal’s editorial team to discuss her own curatorial process and how she makes room for experimentation, and unpacks the intriguing thematic of this new edition: ‘flood’, or bonna.

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The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

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In a career spanning four decades, Amitava’s location as an artist has determined the authority that he brings to his practice. As an artist studying and working in the 1960s, Amitava Das experienced a decade of fragmented locii. The ’60s, the period of his education at the College of Art, was the decade of wars, fiscal difficulty and an uncertain polity in the wake of the death of Jawaharlal Nehru. Further, as a second generation pravasi (non-residing Indian) Bengali, the roiling political violence of West Bengal’s Naxal movement came to him through the filter of poetry, film and art—much as he would have received the existential writing of Camus, Genet and Rilke. Through the 1960s and ’70s, small groups of artists and filmmakers in different pockets in India had a heightened response: the state of the nation found an uncanny echo in the language of modernism, of the artist’s isolation and purity even within a state of uncertainty.

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Born in Shivpur Diyar in Ballia district of Uttar Pradesh, Muni Singh studied at College of Art, Lucknow. In 1963, he received formal training in fresco-making from Banasthali Vidyapith, Rajasthan. A contemporary of Badri Nath Arya, R. S. Bisht, and Sanat Chatterjee, Singh’s preferred medium was watercolour. He mastered the miniature style of painting—Mughal, Rajput, and Pahari—and translated it into his own idiom and technique. Learn More

Artist and institution-builder Shuvaprasanna’s residence is located in a leafy corner of Kolkata’s suburban township, Bidhannagar or ‘Salt lake City’, which was envisaged by the former Chief Minister of West Bengal, Dr. Bidhan Chandra Roy in the late 1950s. Having grown up elsewhere—in College Street, in fact—the artist only moved here in 2002-03 with his family, which included his wife and fellow-artist, Shipra Bhattacharya. In this photo-essay we will learn about Shuvaprasanna’s personal collection and the relationship between his collecting practices and his art-making.

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Born in present-day Bangladesh, Amalnath Chakladhar belongs to that category of Bengali modernists who carved an identity uniquely their own, despite the overarching influence of the three prominent strains of modern art in Bengal in the first half of the twentieth century—the Bengal School, academic training in art schools of Calcutta, and expressionism in Santiniketan. His contribution to furthering modernism in India, therefore, assumes importance for being a seminal, individual effort. Learn More

Born in 1907, Gobardhan Ash came into his own as an artist at a time when Indian art was in a state of historical flux, when the imagination of young artists was infused with the spirit of country’s freedom from colonial rule. He trained at the Government College of Art in Calcutta from 1926-30, and at the Government School of Arts and Crafts, Madras, till 1932. He was an active member of various artist collectives such as the Calcutta Group that he joined in 1950, the Art Rebel Centre, and the Young Artists Union, of which he was a founder member. Learn More

A printmaking workshop with artist Rahee Punyashloka of @artedkar, drawing from his own practice to visualise the absent protagonists of the freedom movement.

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Abdul Aziz Raiba was born in Bombay on 20 July 1922 and studied miniature painting at Sir J. J. School of Art upon receiving a scholarship in 1942. He was an early associate of the Progressive Artists’ Group but later struck out on his own due to difference of opinion with other members. Learn More

A founder member of the Progressive Artists’ Group, Hari Ambadas Gade was born in Amravati, Maharashtra, in 1917. In his own words, he had a ‘compelling interest in science and mathematics’, as a result of which he graduated in science. However, he started making landscapes while on a visit to Jabalpur; subsequently, S. H. Raza guided him on the nuances of landscape painting. Gade eventually obtained a masters from the Nagpur School of Art in 1950.

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