Search results for: '19th century india through the eyes of foreign a'

Born in Uttar Pradesh in 1945, Gogi Saroj Pal studied art in Banasthali, Rajasthan, took a diploma at the Government College of Arts and Crafts, Lucknow, and a postgraduate diploma in painting from the College of Art, New Delhi. Learn More

Born in Sindgi, Karnataka, Iranna G. Rukumpur, popularly known as G. R. Iranna, grew up on his father’s farm, worked in the fields, and studied in Sarang Math (a traditional village school or an ashram) where he discovered his early interest in drawing and painting. As a child, freshly laid-out roads were Iranna’s earliest canvases on which he drew images of Hanuman, the monkey-god, with chalk. Learn More

Born in Calcutta, Bipin Behari Goswami studied at the city's Government College of Arts and Crafts, from where he graduated in 1956 with a diploma in sculpture and modelling. Learn More

Born in a Bombay-based business family, J. Sultan Ali’s first act of rebellion was to leave the safety of the family trade and join sculptor-teacher D. P. Roy Chowdhury at the Government College of Art in Madras in 1945. He also studied textile design at the Madras Government Textile Institute, and pursued a photography course in London. Learn More

Born on 11 April 1953 in Sangli, Maharashtra, Dattatraya Apte grew up in a culturally-charged household. His father was a teacher and used to make Ganehsa idols for puja at home, a skill that young Apte learnt early on. He also learnt to paint photographs and retouch negatives with an uncle who was a photographer. Learn More

When the Met-Breuer opened in New York, its very first exhibition was a retrospective of Nasreen Mohamedi. Nasreen’s work is regarded as extremely important in the context of abstraction with delicate lines marking her compositions with a strength that is as remarkable as it is astounding, altering the way we see the world. The artist preferred drawing and sometimes photography, as a result her canvases are extremely rare to find. Sasha Altaf tells us more in this film about a canvas painted by her in Bahrain in 1969.

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This Untitled painting, created in the early-to-mid-1970s, reflects Shanti Dave's fervent experimentation during a prolific period marked by international recognition in mural making and exhibitions. Drawing inspiration from childhood memories of Badapura and nearby archaeological ruins, the abstract composition blends colour pigments, beeswax, and oil solutions in a dynamic interplay. Employing a reverse image technique with molten wax, the painting challenges perceptions and invites contemplation on the nature of truth. Noted fashion designer and art-collector Tarun Tahiliani explains the nuances of Shanti Dave’s work in a film specially created on the painting.

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S. H. Raza had begun to paint using oils, moving away from his impressionistic watercolours, on his way to winning the prestigious critics’ award in 1956. Just a year before, he completed a stunning painting of Parisian rooftops, revealing not a daylight scene but one of the night, only yellow lamplight from the streets dimly silhouetting the chimneys and sloping roofs. This period of Raza’s career is somewhat lesser known than his later, tantra-inspired works, as Ashok Vajpeyi and Aman Nath explain to us.

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A creative enquiry tool that explores the events leading up to and during the revolt of 1857.

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A project idea on using artworks as prompts to write about the figures in the freedom movement marginalized in or left out of the history books.

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A guided walk of the exhibition with the curator and contributing writers, exploring the lesser-known narratives of the Independence movement.

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Curator Jesal Thacker and art writer Meera Menezes speak about Shanti Dave’s art practice and choice of medium that allowed several elements to come together in his encaustic paintings and layered watercolours.

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