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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

'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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‘Iconic Masterpieces of Indian Modern Art, Edition 02’, the second iteration of DAG’s annual exhibition that redefines the concept of modernism in the Indian context, will be on view in New Delhi this month. Timed to coincide with the launch of its new gallery in the capital, ‘Iconic Masterpieces’ brings together the finest instances of art created in the country by Western and Asian travelling artists and Indian masters spread a little over two centuries. Selected for their rarity, historicity, and excellence, each work of art in this exhibition marks the zenith in terms of the quality of art created in different periods and styles in the subcontinent.

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The birth of Amrita Sher-Gil to an Indian father and Hungarian mother bequeathed to the nation one of its most incandescent artists. Known for her luminous paintings, her work changed the face of modern Indian art and paved the course it was to take in the country. In a rare sculpture of tigers made, poignantly enough, in the last year of her life, Amrita Sher-Gil is revealed as someone exploring new directions before her tragic demise in 1941.

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Artists have often formulated their theories and observations to analyse and become aware of the cognitive modes of art making, and to associate with broader contemporaneous art movements. These manifestos become a window into an artist’s process. Prabhakar Barwe’s seminal treatise, <i>Kora Canvas</I> (The Blank Canvas, 1989), exemplifies his deep understanding of the fundamental elements of art and keen observations of nature and his surroundings.

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How did the idea of Indian art come to be constructed over the last century and more? The painstaking work of collectors and curators went a long way towards establishing the history of art in India. In this article we highlight some of the most significant collectors of art from South Asia over the course of the twentieth century. Usually starting as personal collections, most of them would eventually donate their works to museums in India or abroad, allowing these rare works to be seen regularly by new generations of art enthusiasts across the world. Their collections, curated exhibitions and publications fashioned the canons of Indian modern and pre-modern art

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The city was consolidated over the course of the eighteenth century, and its access to global trade routes helped it grow over the following centuries as well, leading some to describe it as the 'door of the East with its Face to the West'. How did European artists view this growing city?

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Zarina Hashmi née Rasheed (she dropped her surname in later life) was born on 16 July 1937 in Aligarh to Sheikh Abdur Rasheed, a professor of history at the Aligarh Muslim University (AMU). She was ten at the time of the Partition and the consequent events impacted her life and her art forever, especially since her family chose to migrate to Pakistan some years later. Learn More

The idea of primitivism centres on the wish to identify with, or respond to, elements of a society that are deemed ‘primitive’. In artistic terms, it is about rejecting realism, simplifying technique and reducing the formal means of expression to a ‘primitive’ state. The term itself is borrowed from discussions of Western art, where high-profile examples include the images of Tahiti and its people made in the 1890s by Paul Gauguin, and responses to African sculpture by Pablo Picasso in 1906-09. The second thread of primitivism—the reduction of formal means—is best exemplified by the ‘cut-outs’ made by Henri Matisse in the 1940s.

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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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A landmark DAG exhibition, the second edition of Masterpieces of Indian Art at India Art Fair offered a microcosm of museum-quality works by well-known masters. Catch a glimpse of some of the masterpieces in this truly extraordinary exhibition. Learn More

Born into a family of painters in Kolhapur, Vasant Anant Mali studied art professionally at Sir J. J. School of Art, Bombay, in the 1920s. It was here that he grasped the nuances of painting through academic realism. Working mostly in the medium of watercolour and oil, Mali keenly observed how some of his teachers, including Walter Langhammer, worked with various tools and applied bold brushstrokes with knife. Mali’s work had a forcefulness, a depth that was unique and could be seen, particularly, in portraits done by him. Learn More