Search results for: 'Modern Indian Art A'

Gogi Saroj Pal is one of India's most important artists working with the female body.

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‘Raza was in some ways an earth painter—someone to whom earth mattered both as a constant presence and an irrepressible memory.’ Ashok Vajpeyi looks at the natural mechanics of Sayed Haider Raza’s abstractions, tracing his relationship with landscape and art.

 

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'The City as a Museum' in an annual art and heritage festival by DAG's Museums Programme. The second edition returned to Kolkata to celebrate the city's rich history of artistic practices and exchange. We travelled across the city and beyond to heritage spaces, artists' homes, and rare collections through unique walks, workshops, talks, performances and more. Explore a snapshot of this journey through photographs by Parameshwar Halder.

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DAG Museum’s annual festival ‘The City as a Museum’ attempts to explore the various archives, communities and artistic traditions that cohere around the life of a city. Put together, they tell different stories about the city across time and space, from the point of view of neighbourhoods, collections and institutions, but not just limited to those either.

In order to learn more about this unique programme that seeks to explore heritage outside the walls of a traditional gallery or museum, read on!

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The wash technique has come to be associated in India with the art of the Bengal School, but the story of its origins in India takes us back to an era of rich cultural exchanges. In the early twentieth century artists like Abanindranath Tagore were trying to imagine a pan-Asian cultural identity, and they turned for inspiration to traditions from across Persia to Japan. Rabindranath Tagore's friendship with Okakura Kakuzō occasioned the arrival of several Japanese artists in Kolkata, such as Yokoyama Taikan, Hishida Shunsō and Katsuta Shōkin. While the latter found inspiration in the Hindu epics, artists in Bengal adapted techniques that were used by the Japanese, such as the wash technique or the subtle use of ink and brush. Since then, the wash technique has been interpreted widely by individual artists, offering an ethereal quality of light to their works, or, in some cases, like for Gaganendranath Tagore and Prosanto Roy, new possibilities of painting in various shades of darkness.

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Born in Onkkoor, Kerala, Surendran Nair graduated in painting from College of Fine Arts, Trivandrum, in 1982, and studied printmaking from M. S. University, Baroda, in 1986. Nair began his art practice with strongly realist pen and ink drawings, etchings and lithographs, and commemorated people from his immediate surroundings or literary heroes in his portraiture. Learn More

Born in Shivpur Diyar in Ballia district of Uttar Pradesh, Muni Singh studied at College of Art, Lucknow. In 1963, he received formal training in fresco-making from Banasthali Vidyapith, Rajasthan. A contemporary of Badri Nath Arya, R. S. Bisht, and Sanat Chatterjee, Singh’s preferred medium was watercolour. He mastered the miniature style of painting—Mughal, Rajput, and Pahari—and translated it into his own idiom and technique. Learn More

An exploration of the instrument by tabla artists, Asif Khan and Rohen Bose, followed by a concert where they are joined by Alla Rakha Kalawant on the sarangi at the Jorasanko Thakur Dalan. 

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A presentation and workshop with artist Hiran Mitra to examine intersecting ideas of montage-collage-assemblage in art-making.

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A visit to the chilekotha studio of contemporary artist Ushnish Mukhopadhyay to witness his experiments with assemblage through fragmented images and disassociated objects.

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A sketching and reading session with art historian Debdutta Gupta on the artistic practice of assemblage centred on the text Khuddur Jatra by Abanindranath Tagore.

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An online cook along with Bong Eats and Pritha Sen, a food historian to delve into the history of dishes, made by our grandmothers and mothers, that form a large part of the art that we experience in our day-to-day life, in the kitchen and on our plates.

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