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Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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Queer-Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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Queer-Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Learn More

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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Kripal Singh Shekhawat of Jaipur worked his entire life to bridge the gap between the vernacular and the contemporary, combining what was considered the craft of a kumhar—potter—with the fine art of miniature painting. He paved a new path for a pioneering social and aesthetic mode of life in twentieth century India.

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Henry Singleton, who is best remembered in India for his dramatic paintings of the Anglo-Mysore wars of the eighteenth century, depicting the Mysore ruler Tipu Sultan, was born in an English family of artists in London on 19 October 1766.

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Jogesh Chandra Seal was an active member of the enthusiastic art scene of Calcutta in the early decades of the twentieth century. However, due to his short life of thirty-one years, he could not leave behind a comprehensive body of work. His academic oil paintings, Untitled (Disappointed), 1919, and Lady Lighting a Diya, 1921, have recently appeared at international auctions, bringing spotlight on this accomplished artist who was closely associated with the values of the Bengal School of painting. Learn More

In the galaxy of modern masters, one name that is synonymous with twentieth century Indian art, is M. F. Husain’s. Born in Pandharpur, Maharashtra, on 17 September 1911, Husain came to Bombay in 1937 to become a painter, where he slept on footpaths and painted under streetlights. A self-taught artist, he began his career painting cinema posters and hoardings, and, in 1941, started making toys and furniture designs. Learn More

Kshitindranath Majumdar, born on July 31, 1891, in Jagtai village of Murshidabad in West Bengal, is often referred to as a saint-artist who considered art as a form of devotion. Strongly influenced by Vaishnavism as propounded by the fifteenth century saint, Chaitanya Mahaprabhu, Majumdar trained in hymn singing, interpreted legends from Indian epics, and acted in productions of the theatre group owned by his father. Learn More

The true pioneer of cubism in India and acclaimed for his satirical works of art, Gaganendranath Tagore was born on 17 September 1867. Along with his Nobel-laureate uncle Rabindranath Tagore, and brother Abanindranath Tagore, he was at the forefront of cultural revival in Bengal in the early twentieth century; the brothers established the Indian Society of Oriental Art, Calcutta, in 1907. Learn More