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A seminal and well-known contemporary Indian sculptor, Dhruva Mistry’s art, in his own words, is a ‘dialogue of an artist as a maker pursuing enigma of an omnipresent consciousness’. Learn More

Born in Lahore in British India, Dhanraj Bhagat acquired a diploma in sculpture from the city’s Mayo College of Art. He began working with clay while studying but it left him uninspired as he found little individuality in its amorphous nature. It was when he got his hands on wood with its uniquely tactile qualities that he felt inspired to carve and create. Learn More

Born in Simla on 28 August 1931, Avinash Chandra studied painting at Delhi Polytechnic, where he also taught for a few years. His students included Paramjit Singh and Arpita Singh, who would go on to make a name for themselves in later years. Learn More

Born in present-day Bangladesh, Amalnath Chakladhar belongs to that category of Bengali modernists who carved an identity uniquely their own, despite the overarching influence of the three prominent strains of modern art in Bengal in the first half of the twentieth century—the Bengal School, academic training in art schools of Calcutta, and expressionism in Santiniketan. His contribution to furthering modernism in India, therefore, assumes importance for being a seminal, individual effort. Learn More

Akkitham Narayanan was born in Kerala to a family involved in conducting Vedic rituals. He obtained a diploma in painting from the Government College of Art and Craft, Madras, in 1961, where he studied under noted painter K. C. S. Panicker, who also helped him shape his art philosophy. Learn More

A visit to Taherpur, Nadia for a workshop on the practices and genealogies of Sora-making with artists Ratan Paul and Gopal Paul, and artist-writer Dipankar Parui. 

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‘March to Freedom’, DAG’s acclaimed exhibition on the 75th anniversary of India’s independence, opens in Delhi with ‘Dastan-e-Gandhi', an evocative dastangoi performance written by Danish Iqbal and performed by Fouzia Dastango and and Ritesh Yadav, two of the leading artists of this tradition.

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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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Nine artists find special mention in India as ‘art treasures, having regard to their artistic and aesthetic value’, a directive by the Archaeological Survey of India in the 1970s. Spanning a period of one hundred years of art practice, these artists represent a diversity of art traditions and movements but are unified by one common thread: a return to Indian roots through context, theme, subject, and an engagement with identity.

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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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This exemplary themed exhibition at DAG’s booth at the India Art Fair 2018 was a masterclass in Indian art dedicated to the nine National Treasure artists. This declaration in the decade of the 1970s was intended to identify artists whose contribution had national significance. Even though the selection appears arbitrary and argumentative, the nine artists cannot be faulted for the quality of their work and the role they played in segueing the pre-independence freedom movement with their role and responsibility as artists. Nandalal Bose Sailoz Mookherjea Abanindranath Tagore Jamini Roy Amrita Sher-Gil Rabindranath Tagore Gagnendranath Tagore Nicholas Roerich Raja Ravi Varma

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India’s return to Singapore to participate in Art Stage Singapore 2016 was fuelled by the strong curiosity it aroused the previous year, and it built on the relationships it had developed in the region with a strong selection of artworks by reputed artists as well as masters. It proved a felicitous experience and consolidated the gains from its previous sales and was a success. As is its norm, the large DAG booth had a big number of Indian artists represented by their finest work. A. A. Almelkar Ambadas Anjolie Ela Menon Avinash Chandra Bikash Bhattacharjee Biren De Francis Newton Souza G. R. Santosh Ganesh Haloi George Keyt Gogi Saroj Pal Gopal Ghose H. A. Gade J. Sultan Ali Jeram Patel Jogen Chowdhury K. H. Ara K. K. Hebbar K. Laxma Goud Laxman Pai Madhvi Parekh Maqbool Fida Husain P. Khemraj P. T. Reddy Rabin Mondal Ram Kumar Sakti Burman Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunil Das Syed Hyder Raza

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