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Drawing from the Greek word skhedios, meaning ‘to extemporize’, the sketch presents an interiorized, psychological landscape against classical painting’s heroic, externalized construction of the painted tableau. For many artists, sketching and drawing suggest initial explorations for capturing moods, relations and subjectivities that can be expanded through later applications of paint and texture.

We might think of landscape as the most obvious and natural subject for painting. What could be simpler than an artistic response to the world of nature? And yet, civilisations have not always produced landscape paintings. Landscape as an independent genre—with the primary focus not on action but on scenery—was first championed by the Chinese in the ninth century. It was introduced into English art only in the eighteenth century. Elements of nature have appeared in Indian art since the murals of Ajanta, but in supporting roles, in images that are primarily sacred or courtly. Pure landscape painting arose in India only in the nineteenth century, in response to colonial practice. A A ALMELKAR AVINASH CHANDRA BABURAO SADWELKAR BHUNATH MUKERJEE BIJAN CHOUDHARY BIRESWAR SEN CHITTAPROSAD DEVRAJ DAKOJI DEVYANI KRISHNA DHARAMANARAYAN DASGUPTA GANESH HALOI GOBARDHAN ASH HAREN DAS K. K. HEBBAR KANWAL KRISHNA KISORY ROY M. K. PARANDEKAR M. V. DHURANDHAR MANISHI DEY MUKUL DEY New Found Lands NIKHIL BISWAS PESTONJI E BOMANJI PRAN KISHAN PAUL RABIN MONDAL RAMENDRANATH CHAKRAVORTY RAMKINKAR BAIJ SAKTI BURMAN SUNIL DAS THOMAS DANIELL WILLIAM HODGES WILLIAM PARKER

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

Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey. it is this rich legacy of Indian modernism that we hope to explore with The Centum Series which opens a window to the tantalising glimpse of the extraoridnary depth and breadth of its scope and variety. Akhilesh J. Sultan Ali Altaf Ambadas Amit Ambalal Amitava Anonymous (Early Bengal) Dattatraya Apte Radha Charan Bagchi Ramkinkar Baij S. K. Bakre Prabhakar Barwe R. B. Bhaskaran Jyoti Bhatt Natvar Bhavsar Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Shobha Broota Sakti Burman Avinash Chandra Chittaprosad Jagmohan Chopra Bijan Choudhary Jogen Chowdhury Anita Roy Chowdhury D. P. Roy Chowdhury Thomas Daniell Haren Das Sunil Das

The city was consolidated over the course of the eighteenth century, and its access to global trade routes helped it grow over the following centuries as well, leading some to describe it as the 'door of the East with its Face to the West'. How did European artists view this growing city?