Search results for: 'Continuity and Identity Souza AN'

By the end of the century, however, the scene was changing, and infrastructure—following the economic reforms in 1991—began to improve, creating an interest in collecting art. Twentieth century Indian modern art has since been at the forefront of collecting and investing in Indian art, and DAG, which has the largest private collection of Indian art has a marked focus on this period of Indian art. Ambadas F. N. Souza G. R. Santosh George Keyt Jamini Roy K. K. Hebbar Kanwal Krishna Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Nandalal Bose Nemai Ghosh Prokash Karmakar Rabin Mondal

Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

Learn More

The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

Learn More

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.

Learn More

Learn More

Learn More

Learn More

For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

Learn More

The exhibition features several works of academic realist portraiture from early 20th century—vivid oil portraits by masters of the form such as Pestonji Bomanji, M. F. Pithawalla, Baburao Painter and L. N. Taskar as well as charcoal sketches by M. V. Dhurandhar, an academic artist of renown of the same period. The selection features Western academic oil-influenced works on mythological themes by the school referred to as Early Bengal and two works painted in a Raja Ravi Varma-derived style—an anonymous work by the Ravi Varma ‘School’ and Aroomoogam Pillay. A. A. Almelkar Abalall Rahiman Abani Sen Akbar Padamsee Ambadas Anonymous (EarlyBengal) Anonymous (Portraiture ) Anupam Sud Aroomoogam Pillay Avinash Chandra Baburao Painter Badri Narayan Bijan Choudhary Bikash Bhattacharjee Biren De Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Devyani Krishna Dharamnarayan Dasgupta F. N. Souza G. R. Santosh G. Ravinder Reddy Ganesh Haloi Gogi Saroj Pal Gopal Ghose H. A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. V. Haridasan Kshitindranath Majumdar L. Munuswamy L. N. Taskar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Mukul Dey N. S. Bendre Nandalal Bose Nasreen Mohammedi Nicholas Roerich Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Pestonji E. Bomanji Prosanto Roy Rabin Mondal Ram Kumar Ramkinkar Baij Ravi Varma ‘School’ S. H. Raza S. K. Bakre Sadequain Sailoz Mukherjea Shanti Dave Shyamal Dutta Ray Sohan Qadri Sudhir Patwardhan Sunil Das Sunil Madhav Sen Tarak Garai Ved Nayar Walter Langhammer

Learn More

Learn More

This is the first-ever retrospective of the Indian modern artist Avinash Chandra who lived most of his life in the West, in London and New York. The artist, who had trained in New Delhi, left soon after for London, and most of his practice was limited to London and New York, the two cities he called his home till his unfortunately early death in 1991. In the roughly three-and-a-half decades of his career, Avinash’s work changed amazingly, reflecting his environment and milieu as he grew and adapted to cities vastly different from their Indian counterparts, with their own sub-cultures. That this happily coincided with a discovery of India, however superfluously, as a land of spirituality and sexuality, seemed to serve him well as his muse.

Learn More