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Born in 1910 in Pabna, in present-day Bangladesh, Radha Charan Bagchi graduated from College of Arts and Crafts, Calcutta, in traditional Indian art, oil painting, and Western academism. Abanindranath Tagore, Mukul Dey and other Bengal masters were major influences but Bagchi evolved his own artistic style. In 1951, he joined Kala Bhavana, Santiniketan, as teacher, officiating twice as its principal in subsequent years. Learn More

A workshop on typography and the art of font-making, facilitated by Diptanshu Roy, Creative Director (Wunderman Thompson) and Musician, inspired by the poster art of early 20th century.

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A visit to Studio Goppo in Santiniketan to learn the process of wet plate collodion, which was used to develop photographs in 19th and early 20th century India, with the artist and pedagogue Arpan Mukherjee.

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Henry Singleton, who is best remembered in India for his dramatic paintings of the Anglo-Mysore wars of the eighteenth century, depicting the Mysore ruler Tipu Sultan, was born in an English family of artists in London on 19 October 1766.

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In the galaxy of modern masters, one name that is synonymous with twentieth century Indian art, is M. F. Husain’s. Born in Pandharpur, Maharashtra, on 17 September 1911, Husain came to Bombay in 1937 to become a painter, where he slept on footpaths and painted under streetlights. A self-taught artist, he began his career painting cinema posters and hoardings, and, in 1941, started making toys and furniture designs. Learn More

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The pinwheel of emotions is the genesis of our current exhibition, 'Navrasa: The Nine Emotions of Art'. This unique treatise of emotions and moods has formed the foundation for the performing and visual arts in India. As we researched deeper to explore the dynamics it shares with Indian modern art, we found that all emotions are intrinsically linked with each other, that they trigger actions and reactions and are catalysts for change. 'Navrasa' explores Indian modernism and looks at the works of masters through the nine primary emotions, and breaks new ground in the visualisation of Indian art. Raiba A. H. Muller A. Ramachandran Altaf Amal Nath Chakladar Amit Ambalal Anonymous Anonymous (Bengal ‘School’) Anonymous (Early Bengal School) Anonymous (Early Bengal, Kalighat Style) Anonymous (Kalighat Pat Anupam Sud Arpana Caur Arun Bose Arup Das Asit Haldar B. N. Arya B. Prabha Badri Narayan Bijan Choudhury Bikash Bhattacharjee Bireswar Sen C. Douglas Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dattatraya Apte Dharamanarayan Dasgupta F. N. Souza G. Reghu Gogi Saroj Pal Gopal Ghose Gopal Sanyal Haren Das Indu Rakshit J. Sultan Ali Jagadish Dey Jai Zharotia Jamini Roy Jaya Ganguly Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Kanchan Chander Kartick Chandra Pyne Krishen Khanna Kshitindranath Mazumdar Laxman Pai M. F. Husain Madhvi Parekh Mukul Dey Navjot Nemai Ghosh Nikhil Biswas P. S. Chander Shekar P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rabin Mondal Radhacharan Bagchi Raja Ravi Varma Rameshwar Broota Ranbir Singh Kaleka S. Dhanapal Sakti Burman Sanat Chatterjee Sanat Kar Satish Gujral Satish Sinha Shyamal Dutta Ray Somnath Hore Stefan Norblin Subba Ghosh Sudhir Khastgir Sukhvinder Singh Sunil Das Sunil Madhav Sen Thota Vaikuntam Tyeb Mehta V. Nageshkar

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Colonization is perhaps best understood as a process that unfolded over time than as a single historical event. In India and South Asia it began with the East India Company acquiring rights over land in different parts of the country, with the occasional political victories won on the battlefields. Since the Battle of Plassey (1757), their power over legislative and judicial matters grew steadily, backed by a strong military presence. Following the First War of Independence in 1857, the British Crown brought most parts of the Indian subcontinent under its direct rule, continuing to hold power until 1947.

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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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Among all attempts by foreign artists to present a complete view of India, none is so focused on people as the work of François Baltazard Solvyns, who lived in Calcutta for a decade starting in 1791. While picking up odd jobs, he embarked on an ambitious project to produce a comprehensive survey of ‘the manners, customs, and dresses, of the Hindus’. The first edition contained 250 hand-coloured etchings and was published by Solvyns between 1796 and 1799.

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