Search results for: 'Women of Mumbai by M F Pith'

The medieval ages saw the rise in India and parts of Asia of philosophical, theological, cultural, literary and visual manifestations that derived from diverse faiths but with one aim—to attain enlightened liberation. Its resistance to Brahmanical texts and hegemony resulted in the creation of geometrical aesthetics that were interpreted by way of texts, paintings, and architecture and had a monumental impact on society. At the centre of its geometric configurations—the triangle, the square, and the circle—lay the idea of Creation itself, the source of primal energy that could to be diverted towards a higher consciousness, and all universe was manifest in this. Learn More

A guided walk of the exhibition with historian Prof Aparna Vaidik, Ashoka University, and Dr Giles Tillotson, SVP Exhibitions and Publications, DAG, exploring the lesser-known narratives of the Independence movement through art.

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As printing technologies improved around the turn of the 18th century, a large number of cheaply reproduced printed pictures—illustrated books, almanacs and mythological images—became available to the common people. This became an important vehicle of social change because people could own, produce and disseminate images of all kinds—from their beloved deities and favourite fictional characters to political cartoons critiquing colonial authorities. Printmaking was equally treasured by artists for its aesthetic potential, as techniques like lithography, etching, metal engraving, viscosity, gave practitioners infinite opportunities for creative exploration. This landmark exhibition gives us a comprehensive overview of the history of the printed picture in India.

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For its fourth consecutive outing at Masterpiece London, DAG continued with the tradition of showing artists who had grown in appeal at the city’s truly cross-collecting ‘masterpiece’ fair, but with enough surprises to interest even the most fair-hardened visitor. From a large and vivid G. R. Santosh to a collection of small-sized Bireswar Sen watercolours, the selection was sensitively curated keeping in mind the cosmopolitan nature of London city and the visitors to the fair. Along with the Progressives, the exhibition included one of the finest sculptures created by Adi Davierwalla, remarkable paintings by Tyeb Mehta, Bikash Bhattacharjee, J. Sultan Ali, Avinash Chandra, and Hemen Mazumdar. As always, the emphasis in the booth lay in creating a rarefied visitor experience in which a handful of works allowed visitors to enjoy them at leisure without causing visual fatigue. The response was overwhelming. G. R. SANTOSH BIRESWAR SEN MADHVI PAREKH S. H. RAZA F. N. SOUZA TYEB MEHTA J. SULTAN ALI DHANRAJ BHAGAT BIKASH BHATTACHARJEE AVINASH CHANDRA SHANTI DAVE ADI DAVIERWALLA SATISH GUJRAL HEMEN MAZUMDAR SOHAN QADRI BIREN DE

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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What is the role of collectors and collections or archives in the world of art today? Does it simply allude to practices of producing a consumable past today or does it also aspire to question the ways in which history has been shaped by powerful interventions in the form of artworks, performances and installations?  In this series of conversations, we wanted to explore the idea of collecting recent or contemporary art—and how it inevitably takes us back to the moderns who influenced such practices heavily. 

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When the Met-Breuer opened in New York, its very first exhibition was a retrospective of Nasreen Mohamedi. Nasreen’s work is regarded as extremely important in the context of abstraction with delicate lines marking her compositions with a strength that is as remarkable as it is astounding, altering the way we see the world. The artist preferred drawing and sometimes photography, as a result her canvases are extremely rare to find. Sasha Altaf tells us more in this film about a canvas painted by her in Bahrain in 1969.

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A creative response guide on exploring multiple historical perspectives through artworks and archival material on the fall of Tipoo Sultan.

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A translation of Rani Chanda's (nee Dey) essay/ memoir of Nandalal Bose, her teacher, and his friendship with Mukul Dey (Chanda's elder brother) and Jamini Roy. 

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The India International Centre at New Delhi, in collaboration with the Amar Nath Sahgal Trust, presented a large suite of works by Amar Nath Sahgal (1922—2007), one of post-independent India’s foremost sculptors, in order to celebrate his centenary year in March 2023. 

 

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'Iconic Masterpieces of Indian Modern Art, Edition 2' opened on 11 February, featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Shobhaa De reflects on Sailoz Mookherjea’s painting created ten years after the tragedy of Hiroshima-Nagasaki, drawing attention to the motifs and textures which convey a sense of fractured time affecting his personal and political worlds. Learn More