Search results for: 'face of man on pi'

Gogi Saroj Pal was one of the earliest women artists of India to paint the female body as a receptacle of patriarchal gaze, a trope that she has continued to explore right through the seventh decade of her life. She speaks with commendable candour in this short video on how art helped liberate her as an individual. Learn More

Painter-printmaker Yoshida Hiroshi, one of the leading figures of Japanese printmaking after the end of the Meiji period (1912), was born on 19 September 1876 in Kurume in Fukuoka prefecture.

 

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Ethnographic mapping and documentation of a vast country like India was an important part of the political and economic expansion of the East India Company from the middle of the seventeenth century onwards.

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English painter Charles William Bartlett remains one of the most exceptional, non-Japanese woodblock artists of the twentieth century.

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The Delhi Durbars were a series of coronation events held by the British in India which formally declared the British monarch as the Emperor or Empress of India. They took place thrice—first, in 1887, acknowledging Queen Victoria as the Empress of India, followed by one in 1903, for King Edward VII, and finally in 1911 for King George V, which saw the monarch’s attendance in person.

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Radha is painted as a queen in this Early Bengal oil painting, surrounded by her fellow Gopis (cowherds and companions) and Krishna—her divine consort and an incarnation of one of the Hindu trinity—dressed as a sentinel. She sits on her royal throne amid a forest landscape, perhaps recalling her identification as Vrindavaneshwari (goddess of Vrindavan). Going by the small but remarkable details of the jewellery, we can guess that it is the work of an artist trained in the miniature tradition. But does the painting hide other possible secrets?

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This exhibition looks at landscape painting in India over a period of two hundred years, from 1780 to 1980. We start with English artists who travelled in India from the late eighteenth century onwards, to rediscover what they were looking for, and how they saw what they found. The introduction of new materials, and the teaching of new methods in the art schools from the middle of the 19th century, encouraged some Indian artists to adopt similar academic style approaches. In the twentieth century, a reaction set in, as Indian artists sought new modes of expression. As if reclaiming their patrimony and the right to represent it, they invented a glorious array of new landscape styles.

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Poet, novelist, musician, playwright, and Asia’s first Nobel Prize awardee—which he won for literature in 1913—Rabindranath Tagore was born on 7 May 1861, and took to painting and drawing only in his sixties.

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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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Continuing its theme of introducing Indian abstractionists at Art Dubai, DAG handpicked works by eight eminent abstract artists and juxtaposed them to bring into focus how brushwork and colour are imbued with emotion and can compel viewers to spend hours studying such works. The artists presented by DAG at Art Dubai 2018—Ambadas, Sohan Qadri, Natvar Bhavsar, Avinash Chandra, Rajendra Dhawan, Shanti Dave, Ram Kumar and S. H. Raza—worked in different styles but their use of vivid colours highlighted this somewhat neglected genre of art in India that has begun to enjoy a premium in recent years. These artists had their studios in different parts of the world—Copenhagen, Oslo, New York, Paris, London, New Delhi—but had one thing in common: they were all of Indian origin and had trained and begun their careers in India. AMBADAS SOHAN QADRI NATVAR BHAVSAR AVINASH CHANDRA SHANTI DAVE G. R. SANTOSH J. SWAMINATHAN RAM KUMAR JERAM PATEL RAJENDRA DHAWAN K. V. HARIDASAN

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DAG’s second outing at Masterpiece London, the prestigious fair for everything from exceptional jewellery, furniture and antiquities to works of art held annually at Chelsea, was marked by outstanding inclusions of works by modern masters. The showstopper was a massive sized British Raj - Procession by M. F. Husain (one of two works, the other being his Theorem II) that grabbed everyone’s attention, but equally hypnotising were paintings by Natvar Bhavsar (Eketak), George Keyt (Two Women Amid Plants), F. N. Souza’s fabulous Temple Dancer, tantra-based paintings by G. R. Santosh, Prabhakar Barwe and a work in relief by Satish Gujral. Bikash Bhattacharjee Natvar Bhavsar Avinash Chandra K. K. Hebbar M. F. Husain Ranbir Singh Kaleka George Keyt Krishen Khanna Jehangir Sabavala G. R. Santosh F. N. Souza

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India’s Rockefeller Artists showcases iconic works of the Indian painters and sculptors who travelled to the US on philanthropic grants from the JDR 3rd Fund (1963–1979) and later through the Asian Cultural Council. These artists were exposed to American art and shared their own learnings and experiences through these enriching cultural exchanges. The show examines how and why these artists were selected; their relationships with each other and the American art milieu; the impact of the experience on their work; and the creation of a community of Rockefeller artists.

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