Search results for: 'list of india art fair 2024 artist/'

Shown at the Shanghai Biennale, exhibited in New York, widely admired for his consistency throughout his career, Rabin Mondal’s excoriating paintings are a savage indictment of social and political ills. A reticent, reserved artist, Mondal’s works offer a scathing commentary on the pursuit and abuse of power. A primal, primordial figuration describes his work in which people in positions of authority are rendered vulnerable because of the very power they aspire to. Their contorted features and clawed hands and feet represent their venality. Strong outlines, naked brushstrokes and potent use of green and red characterise most his work.

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It is ironical that works by Tyeb Mehta, who did not attach much merit to the financial value of art, were the first by a living Indian artist to sell for more than Rs 1 crore, and, soon, for more than a million dollars, indicating a beginning of interest in Indian art in the international market. His works Celebration, Kali and Mahishasura marked the beginning of the boom in the Indian art market at the start of this century. Learn More

One of India’s most important artists, Chittaprosad recorded pivotal political and social movements in the country, such as the Great Bengal Famine of 1943-44 and its fallout, in heart-wrenching sketches and drawings, alongside protests against colonialism, economic exploitation, urban poverty and depravity, just as beautifully as the many drawings, linocuts and scraper board illustrations he made for children, recording a beatific phase of plenitude and family values, and involving himself with marionettes for their entertainment.

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DAG’s debut at Art Basel Hong Kong aimed to provide an overview of the twentieth century Indian art, tracking key catalytic movements and introducing important masters and artists to an art audience unfamiliar with their work. This included the Progressives, of course, but also other modernists whose contribution to Indian art has been significant. The exhibition display at its large booth was aimed at maximising the number of paintings that could be displayed, including sculptures, and was accompanied by a catalogue. A. A. Raiba Akbar Padamsee Anjolie Ela Menon Avinash Chandra B. Prabha Bikash Bhattacharjee Biren De D. P. Roy Chowdhury F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal H. A. Gade Himmat Shah J. Sultan Ali Jogen Chowdhury K. H. Ara K. K. Hebbar K. Laxma Goud M. F. Husain P. T. Reddy Prodosh Das Gupta Prosanto Roy Ram Kumar S. Dhanapal S. H. Raza S. K. Bakre Sankho Chaudhuri Sohan Qadri Sunil Das

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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

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DAG in collaboration with ASI (Archaeological Survey of India) presents Drishyakala. An incredible array of over 400 artworks spread over 25,000 square ft. by India’s leading artists from the DAG collection—made all the more unique for its presentation within a UNESCO World Heritage Site—the Red Fort.

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G. R. Santosh created a hugely accomplished career without formal training in art. His abstract paintings made in the early 1960s had Kashmir as his muse, and often used encaustic and beeswax—a process he learned from Shanti Dave. Architect and designer Pinakin Patel shares his views about In the Snows of Kashmir, Santosh’s masterful painting with textural relief in a monochrome palette.

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In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.

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