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The 2015 edition of the India Art fair saw DAG securing a lavish booth across two different spaces spread over 11,000 sq. ft. Likened to a museum (albeit a temporary one), the gallery presented a show of close to one thousand artworks that consisted of both paintings and sculptures. The thematically curated exhibition consisted of nine categories: pre-modern art, the Bengal school, academic realism, the Bombay Progressive artists, high modernism, the Baroda School and Group 1890, the Cholamandal artists, tantra and sculptures. This categorically-placed collection successfully attempted to showcase the dynamic range of Indian art over two hundred years. A special sculpture gallery was set up in a covered courtyard and featured the largest sculpture in India—by K. S. Radhakrishnan. Pre-Moderns Early Bengal Kalighat Pat Company School Popular Prints Birth of Modernism M. R. Achrekar Almelkar Radha Charan Bagchi Richard Barron Pestonji E. Bomanji Atul Bose Sakti Burman William Carpenter Jogen Chowdhury Devraj Dakoji Thomas Daniell John Deschamps M. V. Dhurandhar Indra Dugar J. P. Gangooly Olinto Ghilardi S. L. Haldankar K. K. Hebbar Benjamin Hudson D. C. Joglekar Prahlad C. Karmakar J. A. Lalkaka B. C. Law Hemendranath Mazumdar M. Mali H. Muller Ramaswamy Naidu M. K. Parandekar William Parker Prema Pathare V. B. Pathare M. F. Pithawalla Portraiture (Anonymous) Thomas Prinsep Abalall Rahiman ‘Ravi Varma School’ Kisory Roy Baburao Sadwelkar N. R. Sardesai Bireswar Sen Lalit Mohan Sen Sushil Chandra Sen S. G. Thakar Singh Satish Chandra Sinha L. N. Taskar Raja Ravi Varma Revivalism and Beyond Radha Charan Bagchi Bengal School (Anonymous) Nandalal Bose Ramendranath Chakravorty M. A. R. Chughtai Haren Das Sunayini Devi 438 Mukul Dey Surendranath Ganguly Asit Kumar Haldar Chintamoni Kar Kshitindranath Majumdar Indu Rakshit Prosanto Roy Bisnhupada Roychowdhury D. P. Roy Chowdhury Abanindranath Tagore Sarada Charan Ukil Ramgopal Vijaivargiya Jamini Roy Santiniketan: A New Expressionism Ramkinkar Baij Nandalal Bose Benode Behari Mukherjee The Bengal Famine in Art Gobardhan Ash Ramkinkar Baij Chittaprosad Somnath Hore Bengal Modernist Calcutta Group Gopal Ghose Hemanta Misra Prankrishna Pal Paritosh Sen Sunil Madhav Sen Calcutta Painters Nikhil Biswas Bijan Chowdhury Jogen Chowdhury Prokash Karmakar Rabin Mondal Society of Contemporary Artists Bikash Bhattacharjee Sunil Das Shyamal Dutta Ray Ganesh Haloi Ganesh Pyne Lalu Prasad Shaw Lone Stars: Other Bengal Modernists Amalnath Chakladhar Partha Pratim Deb Nemai Ghosh Somnath Hore Sudhir Ranjan Khastgir Sailoz Mookherjea Gaganendranath Tagore Rabindranath Tagore Rise of Modernsim K. H. Ara S. K. Bakre Bal Chhabda H. A. Gade V. S. Gaitonde M. F. Husain Krishen Khanna Ram Kumar Tyeb Mehta Akbar Padamsee S. H. Raza Mohan Samant F. N. Souza A Modern Vernacular Baroda School N. S. Bendre Devraj Dakoji Shanti Dave Bhupen Khakhar Dhruva Mistry Haku Shah Nilima Sheikh K. G. Subramanyan Vivan Sundaram Group 1890 Ambadas Jyoti Bhatt Eric Bowen Jeram Patel Raghav Kaneria Himmat Shah Gulammohammed Sheikh J. Swaminathan Alternate Sensibilities Discourses in Feminism Arpana Caur Nalini Malani Navjot Gogi Saroj Pal Anupam Sud A Language of Minimalism Zarina Hashmi Nasreen Mohammedi The Topsy Turvy World of Magic Realism Amit Ambalal Sakti Burman Dharamnarayan Dasgupta Ranbir Singh Kaleka Sanat Kar P. Khemraj Anjolie Ela Menon New Delhi Modernists Amitava Manjit Bawa Rameshwar Broota Shobha Broota Bimal Dasgupta Biren De Manu Parekh Ved Nayar Ramachandran G. R. Santosh Arpita Singh Silpi Chakra Group Dhanraj Bhagat Avinash Chandra Satish Gujral Bishamber Khanna Devayani Krishna Kanwal Krishna K. S. Kulkarni C. Sanya Mumbai Modernists Altaf Prabhakar Barwe Chittaprosad K. K. Hebbar George Keyt Gieve Patel Prabha Raiba V. Nageshkar Jehangir Sabavala Laxman Shreshtha Region and Identity Cholamandal Artists’ Village J. Sultan Ali Reddappa Naidu Akkitham Narayanan K. C. S. Paniker K. Ramanujam M. Senathipathi S. G. Vasudev V. Viswanadhan Modernists of the South K. M. Adimoolam R. B. Bhaskaran S. Dhanapal P. V. Janakiram L. Munuswamy P. Santhanraj Laxman Pai K. Laxma Goud Badri Narayan G. Ravinder Reddy Krishna Reddy P. T. Reddy S. Krishnaswamy Srinivasulu Thota Vaikuntam Sacred and Sensual Neo-Tantra as a Modern Conceit Jyoti Bhatt Sunil Das Biren De K. V. Haridasan Jeram Patel Sohan Qadri P. T. Reddy G. R. Santosh Erotic Art Ramkinkar Baij Sunil Das K. Laxma Goud M. F. Husain Ranbir Singh Kaleka Prokash Karmakar K. S. Kulkarni Laxman Pai P. T. Reddy G. R. Santosh F. N. Souza Modernism in Indian Sculpture Ramkinkar Baij S. K. Bakre P. Roy Chowdhury Jogen Chowdhury Sankho Chaudhuri Prodosh Das Gupta M. Davierwala Jacob Epstein Tarak Garai Bipin Behari Goswami Satish Gujral Asit Kumar Haldar Dhruva Mistry Mrinalini Mukherjee S. Nandagopal Navjot Nagji Patel K. S. Radhakrishnan S. H. Raza Jamini Roy Himmat Shah Prabhas Sen B. Vithal Other Sculptors

Spanning five decades of her painterly career, this retrospective includes iconic works by Madhvi Parekh which represent every phase of her illustrious career. The show also includes rare drawings and paintings from the 1960s, when the influence of Paul Klee’s abstraction on her early work was evident. Given the solid representation of Parekh’s paintings from every decade, the exhibition allows viewers to see the continuity in her vision and focus.

A print is an original work of art created and printed by hand by an artist or a professional printing assistant from a ‘matrix’—a plate, block of stone, wood or stencil. The image is created on the matrix and the artist takes a limited number of impressions or prints off it. These impressions are numbered and signed by the artist and belong to a limited edition, and this makes the print an original work of art and not a reproduction. Printmaking consists of a wide range of processes: relief printmaking which consists of techniques like engraving, woodcut and linocut; planographic processes such as lithography and oleography, intaglio processes such as drypoint, etching, aquatint, mezzotint, photo processes and collography; and serigraphy, where the image is printed through a silk screen on to the paper. A P Bagchi A Ramachandran Abanindranath Tagore Ajit Dubey Akhilesh verma Akkitham Naryanan Amitabh Banerjee Amitava Anonymous Print Anupam Sud Arun Bose B P Banerjee Basudev Roy Bengal Lithograph Bengal Oleographs Bengal Woodcut Benod Behari Mukherjee Bhupen Khakhar Bijan Choudhury Chittaprosad Daniell William Devraj Dakoji Devyani Krishna Francis N Souza F. B Solvyns Ganesh Haloi Gulam Sheikh Haren Das Himmat Shah Indu Rakshit Indumati Roop Krishna Jagdish Dey Jagmohan Chopra Jai Zahrotia Jamini Roy Jyoti Bhatt K Laxma Goud K V Haridasan Krishna Ahuja Krishna Reddy Lalu Prasad Shaw M F Husain M. V Dhurandhar Madhvi Parekh Maniklal Banerjee Manu Parekh Moti Zahrotia Mrinalini Mukherjee Mukul Dey Nagji Patel Nalini Malani Nandalal Bose Navjot Paneer Selvam Partha Pratim Deb Portrait Punjab Litho Qamrool Hassan R B Bhaskaran Rabin Mondal Radha Charan Bagchi Ram Kumar Ramendranath Chakravorthy Ramkinkar Baij Rani Dey Ravi Varma Press Ravi Varma Print Rini Dhumal Sakti Burman Sanat Kar Satish Gujral Shobha Broota Shyamal Dutta Ray Somnath Hore Sudhir Khastgir Sunil Das Sunil Madhav Sen Suren Gangooly Sushanta Guha Sushil Sen Suvaprasanna Tapan Bhowmik Tarak Basu Thoman Daniell V Vishwanadhan Various Litho and Olio Vijay Bagodi Vinayak Masoji Vivan Sundaram Walter D’Souza Yogesh Rawal Zainul Abedin

This exhibition looks at the diverse range, moods and styles that primitivism has taken in India, some artists practicing entirely in that style, while others experimenting with it in part, or sporadically. One can count simplicity and a move away from sophistication as key components, as also an inclination or at least a nod towards the folk. The exhibition does not attempt to be a comprehensive survey of India’s primitivists—there are others who would bear inclusion—but is an attempt to understand a body of work and how, given its Western countenance, it can be understood in the Indian context. More than anything else, it offers a clearer view than in the past of what primitivism might mean in the context of modern Indian art. Amrita Sher-Gil F. N. Souza George Keyt Himmat Shah J. Sultan Ali Jamini Roy Jogen Chowdhury K. G. Subramanyan K. S. Kulkarni M. F. Husain Madhvi Parekh Mohan Samant Rabin Mondal Rabindranath Tagore Ramkinkar Baij Sunayani Devi

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.

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.

‘Iconic Masterpieces of Indian Modern Art, Edition 2’ opened on 11 February at DAG’s Janpath Gallery in New Delhi featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Manisha Parekh recalls her memory of her mother Madhvi Parekh as an artist working within spaces of familial intimacy.

Sunayani Devi picked up a paintbrush in 1905 when she was thirty years old while supervising her kitchen duties, self-taught, but with enough talent to attract the critical attention of Stella Kramrisch who organised an exhibition of her paintings in Germany in 1927. It was in her worthy footsteps that India’s women artists followed. Devayani Krishna was born five years after Sunayani Devi began painting; Amrita Sher-Gil already had a career in Paris by the time India’s first art school-trained woman artist, Ambika Dhurandhar, earned her diploma in Bombay. B. Prabha followed next, her work reflecting the realities of the marginalised in a piquant language. By the time Nasreen Mohamedi and Zarina Hashmi, both born a decade before Independence, established their careers, women were joining art schools in greater numbers, validating their practice not on the basis of their gender but on its context. Anupam Sud Devayani Krishna Gogi Saroj Pal Latika Katt Madhvi Parekh Mrinalini Mukherjee Navjot Rekha Rodwittiya Shobha Broota Zarina Hashmi

'Home is a Place’ explores the visual world of the home as a physical space having both an exterior and an interior—with all its magic, hope and memories—in villages and towns. Our homes are central to our existence and society, being the reason for shaping towns and countries, civilisations and histories. The exhibition covers the complexity of lives within the jurisdiction of the home—women at their toilettes, women painted alone gazing out of the window or gossiping in a group; figures working in their library, engaged in household work, or as parents bathing children; a family posing together or feuding over a game of cards, food or egos; and those fighting tyranny or painted as embracing lovers. Altaf Ambika Dhurandhar Amit Ambalal Anonymous Anonymous (Kalighat Pat) Anonymous (Waring & Gillow) Avinash Chandra Badri Narayan Bijan Choudhary Chakravorty Chittaprosad Dattatraya Apte Dhanraj Bhagat G. R. Santosh Ganesh Pyne Gogi Saroj Pal Gopal Ghose Haren Das Hemen Mazumdar Hiranmoy Indra Dugar Indu Rakshit Jagadish Dey Jagmohan Chopra Jamini Roy Jyoti Bhatt K. C. S. Paniker K. S. Kulkarni Kisory Roy M. A. R. Chughtai M. Bulkley M. F. Husain M. V. Dhurandhar Madhvi Parekh Maniklal Banerjee N. R. Sardesai Nandalal Bose Navjot Nemai Ghosh P. T. Reddy Partha Pratim Deb Piraji Sagara Prabhakar Barwe R. B. Bhaskaran Rabin Mondal Radha Charan Bagchi Ramendranath Rekha Rodwittiya Roychaudhuri S S. K. Bakre Sadequain Sakti Burman Sanat Kar Shanti Dave Shyamal Dutta Ray Somnath Hore Subba Ghosh V. A. Mali V. Nageshkar Ved Nayar Abani Sen Paritosh Sen Sunil Madhav Sen Sushil Chandra Sen Nataraj Sharma Shuvaprasanna Muni Singh Paramjeet Singh Paramjit Singh S. G. Thakar Singh Sobha Singh Satish Sinha F. N. Souza K. G. Subramanyan Anupam Sud L. N. Taskar Vasudha Thozhur

A great number of short-lived but nonetheless significant art movements arose in India over the twentieth century as Indian artists struggled with evolving or arriving at their identity as modern artists and an appropriate visual language of Indian modernism. One of the most significant amongst these is the artist collective, Group 1890, formed in 1962 with twelve young artists, led by the artist and art critic J. Swaminathan. The group consisted of J. Swaminathan, Gulammohammed Sheikh, Himmat Shah, Jeram Patel, Ambadas, Jyoti Bhatt, Raghav Kaneria, M. Reddeppa Naidu, Rajesh Mehra, Eric Bowen, S. G. Nikam and Balkrishna Patel. Ambadas Balkrishna Patel Eric Bowen Gulammohammed Sheikh Himmat Shah J. swaminathan Jeram Patel Jyoti Bhatt Raghav Kaneria Rajesh Mehra Reddappa Naidu S. G. Nikam