Search results for: 'Reflection on the John 2:13-22'

The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

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In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.

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One of India’s most revered ‘non-objective’ painters—he preferred that term over ‘abstraction’—Vasudeo Santu Gaitonde was born in Nagpur in 1924. He received his diploma in painting from Sir J. J. School of Art, Bombay, in 1948. Impressed by his work, the members of the Progressive Artists’ Group—formed in 1947—pulled him into their meetings. The strength of his talent was soon recognised elsewhere—he won the first prize of the Young Asian Artists Association in Tokyo in 1957, and a John D. Rockefeller III Fund fellowship in 1964. Learn More

The DAG booth at India Art Fair has always aspired to provide its thousands of visitors with their most unique art-viewing experience based on rarity, historicity, and quality, raising the bar each year with works of sterling importance in addressing the art history of the subcontinent.  Abanindranath Tagore, Allah Bux, Anonymous (Early Bengal), Dhanraj Bhagat Jamini Roy, Krishen Khanna, Ram Kumar, M. A. R. Chughtai, M. F. Husain, Madhvi Parekh, Nandalal Bose, Nirode Mazumdar, Prabhakar Barwe, S. K. Bakre, Sailoz Mookherjea, Shanti Dave, Sohan Qadri, Thomas Daniell, Raja Ravi Varma, Edwin Lord Weeks, F. N. Souza, M. V. Dhurandhar

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India Art Fair is South Asia’s largest platform for showcasing the best of modern and contemporary art from around the world, and DAG’s booth is the most looked forward to by connoisseurs of Indian art in India and overseas. They were not disappointed at this iteration of the fair where its lavish booth was set up to resemble public rooms in a large mansion with teak-panelled walls, pillars, portrait galleries, a private lounge, a media room for interviewing artists and important visitors that was streamed live, and special provisions for curated walks. It also published a daily art newspaper for the duration of the fair for distribution to all visitors. A large book accompanied the display at the booth. K. K. HEBBAR RABIN MONDAL HIMMAT SHAH SAILOZ MOOKHERJEA J. SULTAN ALI AMBADAS K. H. ARA RAMKINKAR BAIJ S. K. BAKRE PRABHAKAR BARWE DHANRAJ BHAGAT BIKASH BHATTACHARJEE NIKHIL BISWAS PESTONJI E BOMANJI NANDALAL BOSE AVINASH CHANDRA CHITTAPROSAD D. P. ROY CHOWDHURY SHANTI DAVE ADI DAVIERWALLA BIREN DE G. R. SANTOSH PARITOSH SEN HENRY SINGLETON M. F. HUSAIN FN SOUZA KALIGHAT J. SWAMINATHAN RABINDRANATH TAGORE L. N. TASKAR KRISHEN KHANNA RAMGOPAL VIJAIVARGIYA RAM KUMAR JEHANGIR SABAVALA HIMMAT SHAH EARLY BENGAL OIL H. A. GADE MOHAN SAMANT S H RAZA JAMINI ROY GEORGE KEYT B PRABHA PROKASH KARMAKAR K LAXMA GOUD RANBIR KALEKA P. KHEMRAJ DEVYANI KRISHNA VED NAYAR K C S PANIKER GIEVE PATEL PORTRAIT A. RAMACHANDRAN PROSANTO ROY V. VISWANADHAN RAM KUMAR RAVINDER REDDY

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Given Singapore’s sizeable Indian population and its position as a leading financial centre, DAG’s debut at Art Stage Singapore was an obvious corollary. Indian artists are avidly collected in this city-state but DAG’s attempt, as always, was to introduce the masters to visitors at the fair. While keeping in mind the best modernists, it also curated a selection most likely to appeal to Eastern sensibilities—thereby displaying its range and the diversity of Indian art. Akbar Padamsee Ambadas Avinash Chandra B. Prabha Bikash Bhattacharjee Dhanraj Bhagat F. N. Souza G. R. Santosh Gogi Saroj Pal Himmat Shah J. Sultan Ali Jeram Patel K. H. Ara K. K. Hebbar Laxman Pai M. F. Husain N. S. Bendre P. T. Reddy Paramjit Singh Prokash Karmakar Rabin Mondal Ram Kumar S. Dhanapal S. H. Raza Sakti Burman Sohan Qadri Sunil Das

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DAG’s booth at Art Basel Hong Kong at its second outing there consolidated its gains from the previous edition by building on the artists it had first presented at the seminal fair. It matched the fair’s focus of a vibrant Asian art with its premier selection of Indian modern art of the twentieth century. The selection presented twenty-five of the most significant Indian modern artists—consisting of painters and sculptors, figurative and abstract artists—who, with the innovations they brought to their art, contributed significantly to the rich diversity and expanse of Indian modern art as we know it today. Akbar Padamsee Ambadas Avinash Chandra B. Prabha Bikash Bhattacharjee Biren De F. N. Souza G. R. Santosh George Keyt Himmat Shah J. Sultan Ali K. H. Ara K. K. Hebbar K. Laxma Goud Krishen Khanna Laxman Pai M. F. Husain N. S. Bendre Rabin Mondal Ram Kumar S. H. Raza S. K. Bakre Sakti Burman Sohan Qadri Sunil Das

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'Iconic Masterpieces of Indian Modern Art' is an exhibition specially curated to commemorate the opening of DAG’s new galleries at the Taj Mahal Palace in Mumbai. The pathbreaking exhibition of some of the finest nineteenth and twentieth century art related to India consists of fifty outstanding works, each of them exceptional for their historicity, rarity, and quality. Established in 1993, DAG has created an enviable reputation over the decades for its collection and exhibitions of twentieth century art. But with 'Iconic Masterpieces of Indian Modern Art', it draws attention to its growing strength in nineteenth century art, a new area that it has now committed itself to with a growing inventory of Western artists who travelled to India to paint, as well as Indian artists whose identities have remained unknown for lack of adequate documentation. The earliest work in this exhibition, dated 1805-10, is of one of the largest recorded Company Paintings, and concludes with a rare sculpture cast as recently as 2021 in Indonesia. Ramachandran Adi Davierwalla Ambadas Avinash Chandra Bikash Bhattacharjee Dhanraj Bhagat Early Bengal Oils Edwin Lord Weeks F. N. Souza Frank Brooks G. R. Santosh Ganesh Haloi J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury K. C. S. Paniker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Radhakrishnan Krishen Khanna Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Madhvi Parekh Marius Bauer Natvar Bhavsar Nicholas Roerich Nikhil Biswas Paritosh Sen Prabhakar Barwe Rabin Mondal Rabindranath Tagore Rajendra Dhawan Ram Kumar Rameshwar Broota Ramgopal Vijaivargiya Ramkinkar Baij Ranbir Singh Kaleka Satish Gujral Shanti Dave Sohan Qadri Stefan Norblin Studio of Raja Ravi Varma Sunil Das Tyeb Mehta Company Paintings

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Manifestations, DAG’s signature exhibition showcasing the very best of modern Indian art, appears this winter in its landmark tenth edition, bringing together seventy-five of India’s best-known and most established modernists. The artworks are grouped by genre into the categories of mythology, landscape, still-life, figurative, narrative and abstract art, and present the mature styles of the participating artists. Raiba A. M. Davierwalla Abanindranath Tagore Ambadas Arpana Caur Avinash Chandra Benode Behari Mukherjee Bikash Bhattacharjee Biren De Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Early Bengal (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose Haku Shah Hemanta Misra Hemendranath Majumdar Himmat Shah Indra Dugar J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. S. Radhakrishnan Kalighat Pat (Anonymous) Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Manu Parekh Meera Mukherjee N. S. Bendre Nandalal Bose Dharamnarayan Dasgupta Nikhil Biswas P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Piloo Pochkhanawalla Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Raghav Kaneria Raja Ravi Varma Ramkinkar Baij S. Dhanapal S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunayani Devi Sunil Das Sunil Madhav Sen Thota Vaikuntam V. Nageshkar

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Globally renowned filmmaker Satyajit Ray called his photographer Nemai Ghosh ‘Boswell with a camera, instead of a pen’. Just like James Boswell’s biography of English writer Samuel Johnson is considered the finest in the language, Ghosh’s photo-biography of his mentor is one of the finest photo essays on a legend’s life; Ghosh was Ray’s photographer from 1968 until Ray’s death in 1992. Learn More