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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

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Born in New Delhi on 4 June 1961, Subba Ghosh has carved a niche for himself with art that overturns reality to show a mirror to society’s lived hyperreality, through paintings, prints, animation, installations, puppets, and video art. Ghosh’s mirror throws not just a passive light on reality but also makes a critical, political comment on issues such as the relationship between the state and its subjects. Learn More

As printing technologies improved around the turn of the 18th century, a large number of cheaply reproduced printed pictures—illustrated books, almanacs and mythological images—became available to the common people. This became an important vehicle of social change because people could own, produce and disseminate images of all kinds—from their beloved deities and favourite fictional characters to political cartoons critiquing colonial authorities. Printmaking was equally treasured by artists for its aesthetic potential, as techniques like lithography, etching, metal engraving, viscosity, gave practitioners infinite opportunities for creative exploration. This landmark exhibition gives us a comprehensive overview of the history of the printed picture in India.

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In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.

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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression are predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography, a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer A. A. Raiba Abalall Rahiman Abanindranath Tagore Akbar Padamsee Alagiri Naidu Alphonso Doss Ambika Dhurandhar Anjolie Ela Menon Anonymous (Bengal Lithographs) Anonymous (Ladies and Gentlemen) Anonymous (Painted Photographs) Anonymous (Parsi Eminences) 90 Anonymous (Raja Ravi Varma School) Anonymous (Royal Personages) Anonymous (Spiritual) Anonymous (Studio Photographs) Ardeshir Duishajee Tavaria Asit Kumar Haldar B. Paul Baburao Sadwelkar Badri Narayan Benjamin Hudson Bhunath Mukherjee Bhupen Khakhar Bikash Bhattacharjee Bipin Behari Goswami Biswanath Mukerji C. N. Kistnasawmy Naidu Cecil Burns Chintamoni Kar Chittaprosad D. L. N. Reddy D. P. Roy Chowdhury Devyani Krishna F. N. Souza Fatima Ahmed Frank Brooks G. Kamble G. N. Jadhav G. R. Santosh Gaganendranath Tagore George Keyt Gobardhan Ash Gogi Saroj Pal Gopal Deuskar Gopal Ghose Gopal Sanyal H. Hormusji Deboo Himmat Shah Hiranmoy Roychaudhuri J. A. Lalkaka J. Barton J. D. Dalvi J. D. Gondhalekar J. P. Gonsalves J. P. Gangooly J. Sultan Ali Jacob Epstein Jai Zharotia Jamini Roy Jogen Chowdhury Jyoti Bhatt K. C. Pyne K. K. Hebbar K. Lall K. Laxma Goud K. S. Kulkarni Kanwal Krishna Keshavrao Sadashiv Kisory Roy Koulji Ardeshir Tachakra Krishen Khanna L. M. Sen L. Munuswamy L. N. Taskar L. P. Shaw Laxman Pai M. F. Husain M. F. Pithawalla M. K. Parandekar M. R. Acharekar M. V. Dhurandhar Mukul Dey Muni Singh N. R. Sardesai Nemai Ghosh Nirode Majumdar Olinto Ghilardi P. T. Reddy Paritosh Sen Partha Pratim Deb Pestonji E. Bomanji Pradip Maitra Prahlad Karmakar Prokash Karmakar R. D. Panvalkar R. S. Bisht Rabin Mondal Rabindranath Tagore Raja Ravi Varma Rama Lal Ramendranath Chakravorty S. A. Meerza S. Dhanapal S. G. Thakar Singh S. L. Haldankar Sankho Choudhuri Satish Sinha Savi Savarkar Shanti Dave Sudhir Khastgir Suhas Roy Sunil Das Sunil Kumar Paul Sunil Madhav Sen Sunqua Surendran Nair Sushil Chandra Sen Tarak Garai V. A. Mali V. B. Pathare V. M. Oke V. Nageshkar Ved Nayar Vivan Sundaram Wasim Kapoor

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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

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Calcutta, flourishing with commerce and maritime trade during the nineteenth century, was regarded as the ‘second city’ of the British Empire. People thronged there in large numbers to make a livelihood, or in holy pilgrimage, seeking blessings at the Kali temple at Kalighat that had been re-built in 1809. Annada Prasad Bagchi Bamapada Banerjee B. C. Law C. W. Lawrie Kshetradas Chitrakar Panchanan Karmakar Madhav Chandra Das Ramadhan Swarnakar Ganganarayan Ghosh Nritya Lal Datta Press Kristohurry Das Chorebagan Art Studio Kansaripara Art Studio Calcutta Jubilee Art Studio Bat-tala

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From 1797, when British artist Thomas Daniell painted his masterly landscape of Mahabalipuram, to 2003, the year Rameshwar Broota's painting pitching man against metal resulted in a powerful image, the Indian art world has seen a succession of artists and movements that have enriched its vocabulary in more ways than one. Thomas Daniell Sita Ram Early Bengal School Raja Ravi Varma Edwin Lord Weeks Marius Bauer Ustad Allah Bakhsh Studio of Bourne & Shepherd M. V. Dhurandhar Hemendranath Mazumdar M. A. R. Chughtai Nandalal Bose Jamini Roy Laxman Pai J. Swaminathan Francis Newton Souza J. Sultan Ali Rabin Mondal S. H. Raza K. K. Hebbar Akbar Padamsee Tyeb Mehta K. H. Ara S. K. Bakre Bireswar Sen Nirode Mazumdar Shanti Dave Gulam Rasool Santosh Madhvi Parekh Satish Gujral Bikash Bhattacharjee Maqbool Fida Husain Meera Mukherjee Rameshwar Broota

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Works of art made by Indian artists for Western patrons in the early colonial period are what we now call Company Painting. The artists, who might otherwise have worked for an Indian court, sought new markets among those employed in various capacities by the European trading companies, and especially the British East India Company. Some patrons supplied the artists with new materials such as European-made paper and transparent watercolour pigments, and expressed preferences regarding subject matter, leading to new departures in both style and substance in Indian art. One of the most delightful genres of Company Painting was natural history: images of India’s plants, animals, and birds. Company Painting Company Paintings British Era

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Let us take a moment to appreciate this magnificent riverside scene that can be instantly recognised as a view of Benares by the distinctive steep steps, or ghats, running down to the Ganga. American artist and Orientalist Edwin Lord Weeks had a remarkable ability to create an impression of a real-time scene unfolding before viewers, enhanced by the subtle plays of light and colour. A prolific artist who created a visual diary of his travels through his paintings—of which his India works are arguably his finest with an appeal that has transcended time.

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