Search results for: 'WASH PAINTING ARTISTS'

The advent of abstraction is a defining moment in art history as we devise divisions between representational, figurative, and abstract art, with the need arising from this pivotal formal shift in the modern world. The term ‘figurative’ has come to represent an antithesis of sorts to the term abstract. One is representational of reality, the latter a derived (abstracted) representation or even non-representational (colour-field paintings for example).

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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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Born in Gujarat to a family of farmers, Nagji Patel grew up making clay toys as part of playing with village children. He joined the painting course at Faculty of Fine Arts, M. S. University, Baroda, but eventually switched to sculpture, which he found less daunting than painting. He obtained an M.F.A. in sculpture in 1964 and in the same year won a travelling scholarship from the Government of India, which allowed him to visit quarries across the country and interact with stone carvers. Learn More

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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Are the histories of art and fashion distinct from each other? Even a cursory glimpse at the contemporary art landscape—on view during occasions such as the India Art Fair, 2023—tells us otherwise. Fabrics, textiles and weaving practices are being increasingly incorporated into the body of works produced by artists today. They bring with them a host of connotations, historical narratives and sensorial memories that working with other media does not. Uthra Rajgopal, a curator and collection adviser for museums, spoke with DAG briefly on the practice of collecting textiles for museums, their historical significance as artworks as well as trading commodities from South Asia, and how contemporary artists are responding to this complex colonial legacy through their own interventions.  

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As one of India’s most well-known artists, Tyeb Mehta still commands our attention for his commitment to experimentation. His ‘Diagonal series’ established him as a dynamic figure within the world of modern art, but how did this diagonal method come to be an important tool of composition in the last century? It all started with the invention of another compoitional tool called the 'rule of thirds'. Read below as we explore the origins of this artistic tool and see how it has evolved over time.

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Known for his portraits and landscapes rendered in academic-realist style, V. B. Pathare studied painting under S. L. Haldankar in Bombay and Prof. Martin Latuterburg in Bern, Switzerland. After studying portraiture under the renowned Sir Charles Dugdale in London, Pathare painted portraits of several national leaders over time, from Mahatma Gandhi, Rabindranath Tagore and Mahatma Jyotiba Phule to Indira Gandhi and Maharaja Sayajirao Gaekwad of Baroda. Learn More

Ghare Baire was a museum-exhibition showcasing over 200 years of art in Bengal. Presented by DAG in collaboration with the National Gallery of Modern Art and the Archaeological Survey of India, the exhibition was housed at the historic Currency Building, across twelve galleries featuring over 700 artworks. The exhibition was the largest showcase of Bengal Art, presenting a panoramic view of the evolution of art in a region that has been critical to the development of Indian modern art. The exhibition starts with the arrival of the travelling European artists at a time of exchange between Bengal and the world. This confluence of cultures stimulated new visual languages as we see in the Kalighat pat,  the Bengal School, and the subsequent emergence of artists who fearlessly and freely experimented with form and subject, reshaping the trajectory of art in India.

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It was a radical shift for the commerce and art graduate Amit Ambalal, born in a Gujarati business family, to give up the family’s textile business in order to pursue painting. Learn More

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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Taking up art early, Anjolie Ela Menon had sold her first painting by the age of fifteen. Of mixed Bengali and American parentage, Menon was born in Burnpur in West Bengal in 1940. Learn More

Born in Calcutta on 30 June 1959, Ananda Moy Banerji completed his B.F.A. in painting from the College of Art, New Delhi, in 1980, where he also studied printmaking under acclaimed printmaker Anupam Sud. Learn More