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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.

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.

Kripal Singh Shekhawat of Jaipur worked his entire life to bridge the gap between the vernacular and the contemporary, combining what was considered the craft of a kumhar—potter—with the fine art of miniature painting. He paved a new path for a pioneering social and aesthetic mode of life in twentieth century India.

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.

Poet, novelist, musician, playwright, and Asia’s first Nobel Prize awardee—which he won for literature in 1913—Rabindranath Tagore was born on 7 May 1861, and took to painting and drawing only in his sixties.

The Dutch artist Marius Bauer was born on 25 January 1867 at The Hague, the Netherlands, to a stage painter who encouraged his son’s early interest in drawing.

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

New York’s popular Armory Show required DAG to put forth its most emphatically modernist artists. These included several who had been fellows of the John D. Rockefeller III Fund and would thus have a resonance among art connoisseurs in America for their language and context. Instead of concentrating on the Progressives, therefore, DAG decided to curate a selection that included works by Avinash Chandra and Natvar Bhavsar with extensive careers in New York, and an important body of works by artists such as S. H. Raza, Ram Kumar, Krishen Khanna, Paritosh Sen, and Satish Gujral, among others. Avinash Chandra Jyoti Bhatt K G Subrmanyan Krishen Khanna Natvar Bhavsar Paritosh Sen Ram Kumar Tyeb Mehta Rekha Rodwittiya S. H. Raza Satish Gujral

New York-based, Indian artist Natvar Bhavsar has been one of the most important painters of his generation. Influenced by the colour field artists of America in the 1960s, he became acquainted with them and took their language forward in his unique manner. A celebrated international artist, Bhavsar’s works have been widely collected by institutions and museums in America and the West.

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

For the third year running, DAG participated at the Masterpiece London 2018, the UK’s leading cross collecting fair for art, design and collectibles. For this edition, DAG’s focus was sharper, and created a narrative for Indian modern art that addressed a sophisticated, discerning audience. Bikash Bhattacharjee F N Souza G R Santosh Jamini Roy Krishen Khanna M F Husain Rabin Mondal Ram Kumar Rameshwar Broota Shanti Dave Tyeb Mehta

DAG’s second outing at Masterpiece London, the prestigious fair for everything from exceptional jewellery, furniture and antiquities to works of art held annually at Chelsea, was marked by outstanding inclusions of works by modern masters. The showstopper was a massive sized British Raj - Procession by M. F. Husain (one of two works, the other being his Theorem II) that grabbed everyone’s attention, but equally hypnotising were paintings by Natvar Bhavsar (Eketak), George Keyt (Two Women Amid Plants), F. N. Souza’s fabulous Temple Dancer, tantra-based paintings by G. R. Santosh, Prabhakar Barwe and a work in relief by Satish Gujral. Bikash Bhattacharjee Natvar Bhavsar Avinash Chandra K. K. Hebbar M. F. Husain Ranbir Singh Kaleka George Keyt Krishen Khanna Jehangir Sabavala G. R. Santosh F. N. Souza