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England shaped Altaf’s political consciousness as well as his persona. He engaged in the anti-apartheid demonstration at Trafalgar Square held against the imprisonment of Nelson Mandela; a peaceful protest at the American Embassy opposing the bombing in North Vietnam; the Aldermaston March against the nuclear bomb; the Campaign for Nuclear Disarmament; he became a member of the Youth Wing of the Communist Party of Great Britain (CPGB) and the Young Communist League (YCL). Any examination of the theoretical aspect of Altaf’s work must start with the knowledge that the work in question exemplified an element of ‘existentialist’ thought. 

2020 marks a special year in mankind’s history and India’s destiny. Often used in reference to development goals, 2020 has taught us to never take things for granted. While humanity has made major leaps, even conquering outer space, nature has shown us how little we know about it, and how little we appreciate what we have. 2020 has taught us to review our values. We have suffered but also been comforted, and we have learned to acknowledge that irrespective of our joys and sorrows, our triumphs and our failures, the world will not stop, it will go on. Husain Rabin Mondal Santosh Jehangir Sabavala Mohan Samant Swaminathan Paramjit Paramjeet Ramgopal Vijaivargiya Seal Singh Dasgupta Haren Das Shanti Dave Jagadish Dhanapal Dhurandhar Bipin Behari Goswami Laxma Goud George Keyt Ara Nandalal Bose Jyoti Bhatt Natvar Bhavsar Eric Bowen Shobha Broota Avinash Chandra Sanat Chatterjee Shiavax Chavda Hebbar Khemraj Krishen Khanna Walter Langhammer Jeram Patel Aroomogam Pillay Raza Reddy Jamini Roy Vasudev Viswanadhan Manu Madhvi Parekh Laxman Pai Dhirendra Narayan Dharamanarayan.

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

For Shanti Dave, creativity is a consistent and persistent exploration of the word or akshara—a term defined in the Natyashastra as a stroke in musical notes—which he perceives as the source of all creation. Dave’s abstract iconography, beginning in the early 1950s, adapted to modernism, aesthetic continuity and transcultural exchange. He altered, rejected and improvised the archaic image into a resonant form resembling an ancient script.

A paid opportunity for young students from diverse disciplines to participate in the exciting world of museums and arts organizations by introducing them to the whole gamut of activities that go into building audience engagement around an exhibition or programme.

An experiential learning and apprenticeship programme for high school students in collaboration with arts education organisations, offering them a first-hand experience of working in a museum, learning about the art and history, and translating their learnings to develop museum experiences for their peers.

On the thirtieth year of DAG’s presence in the Indian art landscape, we are especially delighted to share with our readers the first issue of our Journal. DAG has upheld a high quality of research through exhibitions and publications that have shaped how people understand Indian modern art. Through this journal, we want to keep those discussions going and point towards newer ways to approach the period of modernism—joining the dots that lead those significant artistic breakthroughs into the contemporary. We also want to create a space where readers can gain privileged access into the people and organizations who works around the clock to keep the art world ticking.  

English painter George Chinnery, who spent almost his entire career in the East and is today celebrated for his Oriental pictures of idyllic, daily scenes from India and China, was born in London on 7 January 1774.

How did the multiple trajectories of visual arts develop in the subcontinent? Where did they originate and how did their paths converge? Drishyakala offers a sweeping journey into the heterogenous histories of visual arts in India, from the first European travelling artists who drew landscapes to popular prints of the earliest woodcuts and lithographs evolving into the thriving advertising visuals of the 20th century. The exhibition is broadly divided into four categories, each exploring an unique area of development—the art of portraiture through photography and painting, oriental sceneries drawn by European travelling artists, popular prints from the late eighteenth century to post-independence and artworks of the nine National Treasure Artists. Together, these sections give brief glimpses into the dizzying variety of forms, styles and languages of South Asian art.

For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

The contribution of the first renaissance capital of the country—Bengal—to Indian art and its development is longstanding, enormous and continued. As one of the largest repositories of Bengal art of the past two centuries, DAG is extremely pleased to announce its major exhibition. 19th Century Popular Paintings 19th Century Popular Prints Abani Sen Abanindranath Tagore Ajit Gupta Amalnath Chakladhar Amitabha Banerji Annada Prasad Bagchi Arun Bose Asit Haldar Atul Bose B C Law B. C. Sanyal Bampada Bandhopadhay Benjamin Hudson Benode Behari Mukherjee Bijan Choudhary Bikash Bhattacharjee Bipin Behari Goswami Biren De Bireswar Sen Biswanath Mukerji Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Das Sunil Bimal Dasgupta Dharamnarayan Dasgupta Dhiraj Chowdhury Dhirendra Deb Burman Dipen Bose Early Bengal Oil Artists Gaganendranath Tagore Ganesh Haloi Ganesh Pyne Gobardhan Ash Gopal Ghoshe Gopal Sanyal Haren Das Hemanta Misra Hemendranath Majumdar Heramba Kumar Ganguly Hirachand Dugar Hiranmoy Roychaudhuri Indra Dugar Isha Mahammad J. P. Gangooly Jamini Roy Jogen Chowdhury Jogesh Chander Seal K. G. Subramanyan Kalighat Patuas Kalikinkar Ghosh Dastidar Kalipada Ghoshal Kartick Chandra Pyne Khagen Roy Kishory Roy Kshitindranath Majumdar Lalit Mohan Sen Lalu Prasad Shaw M. A. R. Chughtai Maniklal Banerjee Manishi Dey Meera Mukherjee Mukul Dey Nabin Chandra Ghosh Nandalal Bose Nikhil Biswas Nirode Majumdar Olinto Ghilardi Paritosh Sen Partha Pratim Deb Prahlad Karmakar Prankrishna Pal Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radhacharan Bagchi Ramananda Bandhopadhyay Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranada Charan Ukil – Ranada Prasad Gupta Rathin Maitra Sailendranath Dey Sailoz Mukherjea Sakti Burman Samarendranath Gupta Sanat Kar Sankho Chaudhuri Sarada Chandra Ukil Sarbari Roy Chowdhury Satish Chandra Sinha Shuvaprasanna Shyamal Dutta Ray Somnath Hore Sudhir Ranjan Khastgir Suhas Roy Sunayani Devi Sunil Madhav Sen Surendranath Ganguly Surendranath Kar Sushil Chandra Sen Zainul Abedin