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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 VI features an assortment of seventy-five significant artists curated from its collection. Not organised around theme or style, Manifestations features a single work or a related series of works by each chosen artist, which reflect an important facet of their unique artistic journeys. Usually dominated by 20th century modern Indian art, Manifestations VI features works spanning three centuries, from a ‘Company Painting’ set in Tirunelveli district, Tamil Nadu, done by Thomas Daniell for the East India Company in the 1790s, to an Early Bengal work of a ferocious Kali astride a supine Shiva, to several 20th century modern works. A A. Raiba Ambadas Amitava Anonymous (Early Bengal) Asit Kumar Haldar Avinash Chandra Amitava N. Arya Benode Bihari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen Charan Bagchi Chintamani Kar Chittaprosad P. Roy Chowdhury Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi George Keyt Gopal Deuskar Gopal Ghose Gulammohammed Sheikh Himmat Shah Indra Dugar J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel Jyoti Bhatt Jogen Chowdhury K. C. S. Panicker K. K. Hebbar K. Laxma Goud K. S. Kulkarni Khagen Roy Kshitindranath Majumdar Laxman Pai M. A. R. Chughtai M. F. Husain M. F. Pithawalla M. V. Dhurandhar N. S. Bendre Nandalal Bose Nikhil Biswas P. Khemraj P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prodosh Das Gupta Prokash Karmakar R. Vijaiwargiya Rabin Mondal Raja Ravi Varma Ram Kumar Rameshwar Broota Ramkinkar Baij Ranbir Singh Kaleka Rasik Durgashankar Raval Radha Charan Bagchi S. H. Raza Satish Gujral Shanti Dave Shobha Broota Shyamal Dutta Ray Sohan Qadri Somnath Hore Suhas Roy Sunil Das Thomas Daniell Tyeb Mehta V. Nageshkar V. S. Gaitonde V. Viswanadhan

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Are the histories of art and fashion distinct from each other? Even a cursory glimpse at the contemporary art landscape—on view during occasions such as the India Art Fair, 2023—tells us otherwise. Fabrics, textiles and weaving practices are being increasingly incorporated into the body of works produced by artists today. They bring with them a host of connotations, historical narratives and sensorial memories that working with other media does not. Uthra Rajgopal, a curator and collection adviser for museums, spoke with DAG briefly on the practice of collecting textiles for museums, their historical significance as artworks as well as trading commodities from South Asia, and how contemporary artists are responding to this complex colonial legacy through their own interventions.  

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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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Art Lab by DAG’s Museums Programme is a pop-up art exhibition of facsimiles of works from the DAG Museum Collection that travels to schools and introduces students to modes of visual learning. After two successful iterations in CBSE and ICSE schools in Kolkata, Art Lab travelled to its first Bengali medium West Bengal Board school—Barisha Janakalyan Vidyapith for Girls. Through three days of workshops spread across two weeks, the students interacted with the artworks, learnt the basics of research, delved into historical material, and developed their own creative projects. Take a peek at some of the wonderful projects they curated as they took over the exhibition and made it their own.

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The twentieth century was marked by two important decades—the 1910s, when the Bengal School saw the establishment of a revivalist practice that came to signify Indian modern art in general; and the 1950s, when a newly independent nation put its colonised past behind it and embraced a triumphant modernism. A. A. RAIBA ADI DAVIERWALLA AVINASH CHANDRA BABURAO SADWELKAR BADRI NARAYAN BIREN DE CHITTAPROSAD D. P. ROY CHOWDHURY DEVYANI KRISHNA DHANRAJ BHAGAT G. R. SANTOSH GANESH PYNE HAREN DAS Indra Dugar J. SULTAN ALI JYOTI BHATT K C S PANIKER K S Kulkarni K. G. SUBRAMANYAN K. K. HEBBAR KANWAL KRISHNA KISORY ROY KRISHEN KHANNA KRISHNA REDDY Laxman Pai M. F. HUSAIN MOHAN SAMANT NANDALAL BOSE NIKHIL BISWAS P. T. REDDY PARITOSH SEN S. H. RAZA S. K. BAKRE SAKTI BURMAN SHANTI DAVE SUNIL DAS SUNIL MADHAV SEN VISHWANATH NAGESHKAR

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Gogi Saroj Pal was one of the earliest women artists of India to paint the female body as a receptacle of patriarchal gaze, a trope that she has continued to explore right through the seventh decade of her life. She speaks with commendable candour in this short video on how art helped liberate her as an individual. Learn More

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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We might think of landscape as the most obvious and natural subject for painting. What could be simpler than an artistic response to the world of nature? And yet, civilisations have not always produced landscape paintings. Landscape as an independent genre—with the primary focus not on action but on scenery—was first championed by the Chinese in the ninth century. It was introduced into English art only in the eighteenth century. Elements of nature have appeared in Indian art since the murals of Ajanta, but in supporting roles, in images that are primarily sacred or courtly. Pure landscape painting arose in India only in the nineteenth century, in response to colonial practice. A A ALMELKAR AVINASH CHANDRA BABURAO SADWELKAR BHUNATH MUKERJEE BIJAN CHOUDHARY BIRESWAR SEN CHITTAPROSAD DEVRAJ DAKOJI DEVYANI KRISHNA DHARAMANARAYAN DASGUPTA GANESH HALOI GOBARDHAN ASH HAREN DAS K. K. HEBBAR KANWAL KRISHNA KISORY ROY M. K. PARANDEKAR M. V. DHURANDHAR MANISHI DEY MUKUL DEY New Found Lands NIKHIL BISWAS PESTONJI E BOMANJI PRAN KISHAN PAUL RABIN MONDAL RAMENDRANATH CHAKRAVORTY RAMKINKAR BAIJ SAKTI BURMAN SUNIL DAS THOMAS DANIELL WILLIAM HODGES WILLIAM PARKER

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'Iconic Masterpieces of Indian Modern Art, Edition 2' opened on 11 February, featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Tasneem Zakaria Mehta reflects on M.V Dhurandhar’s mythological painting of Usha and Anirudhdha’s union, drawing attention to the grace and fluidity that suffuse his expert rendition of form along with his mastery over capturing the intricate details of women’s dresses. Learn More

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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