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The Art of Santiniketan showcases the work of its four chief artists—Santiniketan’s founder, Rabindranath Tagore, its first principal and the architect of the Santiniketan pedagogy, Nandalal Bose, and his two illustrious students who went on to make a name for themselves as highly original and significant artists—Benode Behari Mukherjee and Ramkinkar Baij. Santiniketan was a path-breaking educational institution Rabindranath Tagore set up in rural Bengal in the early twentieth century, and the exhibition begins by examining its genesis in Tagore’s radical ideas of basing education in freedom and in the midst of nature. Benode Behari Mukherjee Nandalal Bose Rabindranath Tagore Ramkinkar Baij

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.

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.

Few artists claim as rich and intriguing a legacy as M. V. Dhurandhar in the landscape of late 19th and early 20th century Indian art. His practice leaves us with challenging questions about encounters and exchanges with India's colonial past and the influence of Europeans in shaping the evolution of painting. This exhibition revisits Dhurandhar's vast oeuvre through DAG's extensive collection of his paintings, archival material and ephemera, in an attempt to understand the socio-cultural context of his emergence, and to re-examine his influence on institutional and commercial art in the country.

What wonder it must have been for the people in England to ‘see’ India for the first time, the exotica that they had only heard of until then! The artists who made this possible through their paintings and aquatints were the uncle-nephew duo of Thomas Daniell and William Daniell, whose magnum opus, Oriental Scenery, was the subject of this landmark exhibition at Drishyakala, a joint collaboration between DAG and the Archaeological Survey of India.

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.

The exhibition presents views of the ancient city of Benares (now Varanasi) as depicted by foreign artists in the nineteenth and early twentieth centuries. 

Samuel Bourne (1834—1912) was a British photographer known for his prolific seven years' work in India, from 1863 to 1870. Landing first at Madras, then Calcutta, he travelled across the subcontinent—leading some of the earliest photographic trips to the Himalayas—and wrote about his first impressions of the places he visited.

An extraordinary exhibition of paintings, prints, maps and other objects, curated by Giles Tillotson, that recounts a visual history of the Mysore Wars between the East India Company and Tipu Sultan, this DAG exhibition explores how the narrative might have changed 222 years after the siege of Seringapatnam. The images, based on the British view of the time, reflect changing perceptions and Indian views on this epic battle and its political and social fallouts. A highlight of the exhibition is a painting by Henry Singleton depicting The Last Effort and Fall of Tippoo Sultaun, among other stellar works, that will be seen in India for the first time. Alexander Allan Cpt. R. Frazer David Wilkie Edward Orme Henry Singleton J. B. Mauzaisse James Hunter Johann Peter Krafft John Smart Mather Brown Obadiah Sherratt Robert Hyde Colebrooke Robert Home Robert Ker Porter Thomas Stothard