Search results for: 'Picture of a spoon in a bowl of hot soup'

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It is ironical that works by Tyeb Mehta, who did not attach much merit to the financial value of art, were the first by a living Indian artist to sell for more than Rs 1 crore, and, soon, for more than a million dollars, indicating a beginning of interest in Indian art in the international market. His works Celebration, Kali and Mahishasura marked the beginning of the boom in the Indian art market at the start of this century. Learn More

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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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The mid-twentieth century saw a churn in the practice of art in India with a number of artists beginning to explore a genre that had swept the West with its absence of figuration in favour of abstraction. The non-representational began to gain traction as artists found within it a way to express themselves purely through colour as a potent tool to communicate emotions. Abstraction emphasised the relationship between originality and expression in ways that were complex, leading one to debate about the eventual goal of art. Ambadas, Krishna Reddy, Sohan Qadri, Zarina Hashmi, Rajendra Dhawan

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Also known as Company School, this genre is the Indo-European style of painting made in India by Indian artists, most of whom worked under the patronage of the East India Company. Focusing on a spectacular painting, William Dalrymple takes us through a journey of this neglected yet outstanding genre of art from nineteenth century India.

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This exhibition takes us on a journey into the lives and works of artists from a diverse range of traditions and practices. Despite differences in technique, philosophy and politics, they are united by an attempt to forge a new language of Indian art which rebels against existing visual vocabularies while seamlessly combining influences from European modernism and the rich history of visual arts from South Asia. This assimilation is achieved in different ways. From M. F. Husain’s figurative renditions of Indian deities to the many languages of abstraction developed by artists like Ram Kumar, Ganesh Haloi and others—we see artists responding variously to the socio-cultural problems of a post-colonial nation.

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Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

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