Search results for: 'Full vibe of artist with you'

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

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

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

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

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

One of the most important South Asian artists of the twentieth century, Syed Ahmed Sadequain Naqvi was born in Amroha in Uttar Pradesh in pre-Partition India and grew up in a family that highly valued calligraphy. He moved to Delhi in 1944 to work as a calligrapher-copyist with All India Radio where his elder brother was also working, but shifted to Pakistan following Partition. Moving between jobs for a few years in his new homeland, Sadequain devoted himself fully to the arts in 1955 after his fame as an artist rose with the patronage of the country’s prime minister, Huseyn Shaheed Suhrawardy. Learn More

Born in 1907, Gobardhan Ash came into his own as an artist at a time when Indian art was in a state of historical flux, when the imagination of young artists was infused with the spirit of country’s freedom from colonial rule. He trained at the Government College of Art in Calcutta from 1926-30, and at the Government School of Arts and Crafts, Madras, till 1932. He was an active member of various artist collectives such as the Calcutta Group that he joined in 1950, the Art Rebel Centre, and the Young Artists Union, of which he was a founder member. Learn More

Indian modernism is rich in diversity with a dizzying succession of artists who have each carved a niche for themselves in the rich firmament of art practice in the country. Open to influences from the West, reaching deep into the roots of their own culture, exploring and experimenting across mediums, absorbing ideas, reinterpreting established norms, Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey.

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The Madras Art Movement that emerged in the early 1960s was a late phenomenon of modernity in south India within the national context. It developed as a regional phenomenon that began to take shape from the mid-1950s onwards as a search for authenticity in modernism derived largely from the region’s cultural heritage. D. P. ROY CHOWDHURY A P SANTHANARAJ ACHUTHAN KUDALLUR AKKITHAM NARAYANAN ALPHONSO DOSS C DOUGLAS C J ANTHONY DOSS J. SULTAN ALI K C S PANIKER K M ADIMOOLAM K RAMANUJAM K SREENIVASULU K V HARIDASAN L MUNUSWAMY M SENATHIPATI M SURYAMOORTHY P GOPINATH P PERUMAL P S NANDHAN PANEER SELVAM R B BHASKARAN REDDEPPA NAIDU Rm. PALANIAPPAN S G VASUDEV S. DHANAPAL S. NANDAGOPAL V. VISWANADHAN VIDYASHANKAR STHAPATI

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The 1970s was a decade like no other for a young India gaining in confidence nationally as well as on the global firmament. In 1971, Prime Minister Indira Gandhi led the country to a decisive victory against Pakistan, leading to the creation of Bangladesh. The Green Revolution had borne fruit, and Operation Flood now launched a milk revolution in the country, and the culmination of the privy purse turned it into a socialist republic with a strong handle on its economic button. Internationally, much was made of India’s resilience, and the country’s soft power began to win it recognition for its films, fashion, food and culture. India had arrived. ALTAF AMBADAS AMITAVA AVINASH CHANDRA BIKASH BHATTACHARJEE BIREN DE BIRESWAR SEN ERIC BOWEN F. N. SOUZA G. R. SANTOSH GANESH HALOI GOGI SAROJ PAL INDRA DUGAR J. SULTAN ALI J. SWAMINATHAN K C S PANIKER K. K. HEBBAR K. LAXMA GOUD KRISHNA REDDY LAXMAN PAI M. F. HUSAIN MADHVI PAREKH NAVJOT ALTAF P. T. REDDY PARITOSH SEN PRABHAKAR BARWE PRODOSH DASGUPTA PROKASH KARMAKAR RABIN MONDAL RAJENDRA DHAWAN RAM KUMAR S G VASUDEV SATISH GUJRAL SHANTI DAVE SHYAMAL DUTTA RAY SOHAN QADRI TYEB MEHTA V. VISWANADHAN ZARINA HASHMI

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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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In a career spanning four decades, Amitava’s location as an artist has determined the authority that he brings to his practice. As an artist studying and working in the 1960s, Amitava Das experienced a decade of fragmented locii. The ’60s, the period of his education at the College of Art, was the decade of wars, fiscal difficulty and an uncertain polity in the wake of the death of Jawaharlal Nehru. Further, as a second generation pravasi (non-residing Indian) Bengali, the roiling political violence of West Bengal’s Naxal movement came to him through the filter of poetry, film and art—much as he would have received the existential writing of Camus, Genet and Rilke. Through the 1960s and ’70s, small groups of artists and filmmakers in different pockets in India had a heightened response: the state of the nation found an uncanny echo in the language of modernism, of the artist’s isolation and purity even within a state of uncertainty.

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