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DAG’s emphasis for the 2019 edition of India Art Fair was a rarity—a selection of works of the kind visitors had not before seen. These included a glass mural by Avinash Chandra, a medium the artist loved but which had never before been shown in India; a large mural by Mrinalini Mukherjee; an artist’s chair by Prabhakar Barwe; evocative works by Hemendranath Mazumdar, Manjit Bawa, and Tyeb Mehta; powerful paintings by F. N. Souza, M. F. Husain, Rabin Mondal, and Krishen Khanna; exemplary abstract paintings by Ram Kumar, Shanti Dave, Sohan Qadri, J. Swaminathan, and G. R. Santosh; and other equally powerful artworks including a double-sided sculpture by Meera Mukherjee.

Avinash Chandra F N Souza G R Santosh Hemendranath Majumdar J Swaminathan Krishen Khanna M F Husain Madhvi Parekh Manjit Bawa Meera Mukherjee Mrinalini Mukherjee Paritosh Sen Prabhakar Barwe Rabin Mondal Ram Kumar S H Raza S K Bakre Shanti Dave Sohan Qadri Tyeb Mehta

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.

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

A print is an original work of art created and printed by hand by an artist or a professional printing assistant from a ‘matrix’—a plate, block of stone, wood or stencil. The image is created on the matrix and the artist takes a limited number of impressions or prints off it. These impressions are numbered and signed by the artist and belong to a limited edition, and this makes the print an original work of art and not a reproduction. Printmaking consists of a wide range of processes: relief printmaking which consists of techniques like engraving, woodcut and linocut; planographic processes such as lithography and oleography, intaglio processes such as drypoint, etching, aquatint, mezzotint, photo processes and collography; and serigraphy, where the image is printed through a silk screen on to the paper. A P Bagchi A Ramachandran Abanindranath Tagore Ajit Dubey Akhilesh verma Akkitham Naryanan Amitabh Banerjee Amitava Anonymous Print Anupam Sud Arun Bose B P Banerjee Basudev Roy Bengal Lithograph Bengal Oleographs Bengal Woodcut Benod Behari Mukherjee Bhupen Khakhar Bijan Choudhury Chittaprosad Daniell William Devraj Dakoji Devyani Krishna Francis N Souza F. B Solvyns Ganesh Haloi Gulam Sheikh Haren Das Himmat Shah Indu Rakshit Indumati Roop Krishna Jagdish Dey Jagmohan Chopra Jai Zahrotia Jamini Roy Jyoti Bhatt K Laxma Goud K V Haridasan Krishna Ahuja Krishna Reddy Lalu Prasad Shaw M F Husain M. V Dhurandhar Madhvi Parekh Maniklal Banerjee Manu Parekh Moti Zahrotia Mrinalini Mukherjee Mukul Dey Nagji Patel Nalini Malani Nandalal Bose Navjot Paneer Selvam Partha Pratim Deb Portrait Punjab Litho Qamrool Hassan R B Bhaskaran Rabin Mondal Radha Charan Bagchi Ram Kumar Ramendranath Chakravorthy Ramkinkar Baij Rani Dey Ravi Varma Press Ravi Varma Print Rini Dhumal Sakti Burman Sanat Kar Satish Gujral Shobha Broota Shyamal Dutta Ray Somnath Hore Sudhir Khastgir Sunil Das Sunil Madhav Sen Suren Gangooly Sushanta Guha Sushil Sen Suvaprasanna Tapan Bhowmik Tarak Basu Thoman Daniell V Vishwanadhan Various Litho and Olio Vijay Bagodi Vinayak Masoji Vivan Sundaram Walter D’Souza Yogesh Rawal Zainul Abedin

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.

Landscape art arrived in India through travelling European artists who brought the aesthetic of painting mountains, rivers and trees against the sky and a distant horizon—nature as a subject in itself —to Indian art, where it had traditionally only formed a backdrop in narrative-driven, figural paintings. The genre remained popular throughout the nineteenth century with a great demand for landscapes of India both in Europe and among the newly anglicised elite in India. Its popularity began to wane with the advent of modernism and a growing emphasis on the human figure, but several Indian artists, a significant name among them Gopal Ghose, continued to practice the form, now absorbing a wide range of new artistic trends and influences. A.A. Almelkar Abanindranath Tagore Ambika Dhurandhar Amitava Anonymous (Company School) Anonymous (Early Bengal) Atul Bose Avinash Chandra B. C. Gue B. N. Arya Bhupen Khakhar Bijan Choudhary Bikash Bhattcharjee Bimal Dasgupta Bireswar Sen Bishnupada Roychowdhury Chittaprosad D. C. Joglekar D. J. Joshi Devraj Dakoji Devyani Krishna Dharamnarayan Dasgupta Dulal Gue E. A. Dadi Edward Cheney F. N. Souza G. R. Santosh G. S. Haldankar Ganesh Haloi Gobardhan Ash Gopal Ghose H. A. Gade Haren Das Hirachand Dugar Indra Dugar J. P. Gangooly Jamini Roy John Deschamps Jyoti Bhatt K H. Ara K. C. S. Panicker K. K. Hebba K. Laxma Gou K. S. Kulkarni Kanwal Krishna Kisory Roy Kripal Singh Shekhawat L. N. Taskar L. P. Shaw Lalit Mohan Sen Laxman Pai M. F. Husain M. V. Dhurandhar Manishi Dey Mukul Dey N. R. Sardesai N. S. Bendre Nandalal Bose Nikhil Biswas Olinto Ghilardi P. Khemraj Paramjit Singh Pestonji E. Bomanji Prokash Karmakar Prosanto Roy Radha Charan Bagchi Raja Ravi Varma Ram Kumar Ramendranath Chakravorty Ramkinkar Baij Ranen Ayan Dutta Richard Barron Robert Grindlay S. G. Thakur Singh S. K. Bakre S. L. Haldankar Satish Sinha Sudhir Khastgir Sunil Das Thomas Daniell William Carpenter William Hodges

DAG invited leading historians of Delhi, Swapna Liddle and Rana Safvi, to explore our archives collection. The items they found there include numerous photographs of the three durbars, taken by prominent photographers of the day. They also include many other objects relating to the durbars, from portraits and medals, to maps and official guidebooks, and to tickets and programmes. Historians in the past have analysed the ideology of the Delhi durbars, but never before has such a collection of the material culture of these events been brought together for display.

A capacity building workshop for teachers on crafting museum-learning experiences for students at the historic house museum of the Tagore family. The workshop will focus on tools that can help make school visits to heritage sites more interactive and engaging.

As in previous editions, ‘Iconic Masterpieces’ allows viewers to experience the pinnacles of Indian art through its lens of quality, historicity, and rarity—to which the element of surprise adds an unexpected piquancy. An ‘Iconic’ exhibition from DAG is like a museum tour where the best Indian art can be enjoyed through a lively and perceptive curatorial eye that acknowledges and helps extend our knowledge of it.

A workshop by archivist Kamalika Mukherjee on the importance of family archives, and DIY methods that can help preserve our own paper-based for the next generation.

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.  

'Home is a Place’ explores the visual world of the home as a physical space having both an exterior and an interior—with all its magic, hope and memories—in villages and towns. Our homes are central to our existence and society, being the reason for shaping towns and countries, civilisations and histories. The exhibition covers the complexity of lives within the jurisdiction of the home—women at their toilettes, women painted alone gazing out of the window or gossiping in a group; figures working in their library, engaged in household work, or as parents bathing children; a family posing together or feuding over a game of cards, food or egos; and those fighting tyranny or painted as embracing lovers. Altaf Ambika Dhurandhar Amit Ambalal Anonymous Anonymous (Kalighat Pat) Anonymous (Waring & Gillow) Avinash Chandra Badri Narayan Bijan Choudhary Chakravorty Chittaprosad Dattatraya Apte Dhanraj Bhagat G. R. Santosh Ganesh Pyne Gogi Saroj Pal Gopal Ghose Haren Das Hemen Mazumdar Hiranmoy Indra Dugar Indu Rakshit Jagadish Dey Jagmohan Chopra Jamini Roy Jyoti Bhatt K. C. S. Paniker K. S. Kulkarni Kisory Roy M. A. R. Chughtai M. Bulkley M. F. Husain M. V. Dhurandhar Madhvi Parekh Maniklal Banerjee N. R. Sardesai Nandalal Bose Navjot Nemai Ghosh P. T. Reddy Partha Pratim Deb Piraji Sagara Prabhakar Barwe R. B. Bhaskaran Rabin Mondal Radha Charan Bagchi Ramendranath Rekha Rodwittiya Roychaudhuri S S. K. Bakre Sadequain Sakti Burman Sanat Kar Shanti Dave Shyamal Dutta Ray Somnath Hore Subba Ghosh V. A. Mali V. Nageshkar Ved Nayar Abani Sen Paritosh Sen Sunil Madhav Sen Sushil Chandra Sen Nataraj Sharma Shuvaprasanna Muni Singh Paramjeet Singh Paramjit Singh S. G. Thakar Singh Sobha Singh Satish Sinha F. N. Souza K. G. Subramanyan Anupam Sud L. N. Taskar Vasudha Thozhur