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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.

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New York-based, Indian artist Natvar Bhavsar has been one of the most important painters of his generation. Influenced by the colour field artists of America in the 1960s, he became acquainted with them and took their language forward in his unique manner. A celebrated international artist, Bhavsar’s works have been widely collected by institutions and museums in America and the West.

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How did the multiple trajectories of visual arts develop in the subcontinent? Where did they originate and how did their paths converge? Drishyakala offers a sweeping journey into the heterogenous histories of visual arts in India, from the first European travelling artists who drew landscapes to popular prints of the earliest woodcuts and lithographs evolving into the thriving advertising visuals of the 20th century. The exhibition is broadly divided into four categories, each exploring an unique area of development—the art of portraiture through photography and painting, oriental sceneries drawn by European travelling artists, popular prints from the late eighteenth century to post-independence and artworks of the nine National Treasure Artists. Together, these sections give brief glimpses into the dizzying variety of forms, styles and languages of South Asian art.

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The midwestern city of Chicago hosts one of America’s most important art fairs—Expo Chicago—in which DAG participated in an attempt to introduce Indian moderns to the diaspora there as well as to art-lovers in general. To introduce art to this midwestern population, DAG picked on well-established names from the Indian art marquee. This included the National Treasure artist Jamini Roy whose works outside India are a rarity since they cannot be exported. Others included the Progressives F. N. Souza and M. F. Husain, New York-based printmakers Krishna Reddy and Zarina Hashmi (both now deceased) and artist Natvar Bhavsar, abstractionists Sohan Qadri and G. R. Santosh, a rare sculpture by Prodosh Das Gupta, and a body of other modernists representing the diverse range of works created by Indian artists in the twentieth century. A suite of small format watercolour landscapes by Bireswar Sen was a highlight of the booth. Avinash Chandra Bireswar Sen Chittaprosad F N Souza F N Souza G R Santosh Ganesh Pyne Jamini Roy K.S Kulkarni Krishna Reddy Laxman Pai M F Husain Madhvi Parekh Natvar Bhavsar Paritosh Sen Prodosh Das Gupta Rabin Mondal Sohan Qadri Zarina Hashmi

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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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The art of the twentieth century may be too recent for us to judge it from the viewpoint of longevity, but if the past is any criterion, art is set to outlive us by far—a reason why its documentation is one of the more important tasks before us. This is where the Manifestations series is so important. It encourages discussion and debates around the selection of unique works by seventy-five acknowledged artists spanning a century (or more) of Indian modernism across a range of variously permutable combinations: periods, movements, mediums, materials, regions.  Raiba Ambadas Arpana Caur Arun Bose Asit Kumar Haldar Avinash Chandra Bal Chhabda Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen C. Douglas Chittaprosad Devayani Krishna Dhanraj Bhagat Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal Himmat Shah Indra Dugar J. C. Seal J. Sultan Ali J. Swaminathan Gaganendranath Tagore Raja Ravi Varma Jamini Roy Jeram Patel Jyoti Bhatt K. Adimoolam K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Radhakrishnan Kalighat Pat (Anonymous) Khagen Roy Krishen Khanna L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain M. Senathipathi M. V. Dhurandhar N. S. Bendre Nandalal Bose Navjot Nemai Ghosh Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Partha Pratim Deb Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ranbir S. Kaleka Robert Ker Porter S. H. Raza Sakti Burman Satish Gujral Shanti Dave Shyamal Dutta Ray Gopal Ghose Sohan Qadri Sunil Das Sunil Madhav Sen Thota Vaikuntam Ved Nayar

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The pinwheel of emotions is the genesis of our current exhibition, 'Navrasa: The Nine Emotions of Art'. This unique treatise of emotions and moods has formed the foundation for the performing and visual arts in India. As we researched deeper to explore the dynamics it shares with Indian modern art, we found that all emotions are intrinsically linked with each other, that they trigger actions and reactions and are catalysts for change. 'Navrasa' explores Indian modernism and looks at the works of masters through the nine primary emotions, and breaks new ground in the visualisation of Indian art. Raiba A. H. Muller A. Ramachandran Altaf Amal Nath Chakladar Amit Ambalal Anonymous Anonymous (Bengal ‘School’) Anonymous (Early Bengal School) Anonymous (Early Bengal, Kalighat Style) Anonymous (Kalighat Pat Anupam Sud Arpana Caur Arun Bose Arup Das Asit Haldar B. N. Arya B. Prabha Badri Narayan Bijan Choudhury Bikash Bhattacharjee Bireswar Sen C. Douglas Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dattatraya Apte Dharamanarayan Dasgupta F. N. Souza G. Reghu Gogi Saroj Pal Gopal Ghose Gopal Sanyal Haren Das Indu Rakshit J. Sultan Ali Jagadish Dey Jai Zharotia Jamini Roy Jaya Ganguly Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Kanchan Chander Kartick Chandra Pyne Krishen Khanna Kshitindranath Mazumdar Laxman Pai M. F. Husain Madhvi Parekh Mukul Dey Navjot Nemai Ghosh Nikhil Biswas P. S. Chander Shekar P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rabin Mondal Radhacharan Bagchi Raja Ravi Varma Rameshwar Broota Ranbir Singh Kaleka S. Dhanapal Sakti Burman Sanat Chatterjee Sanat Kar Satish Gujral Satish Sinha Shyamal Dutta Ray Somnath Hore Stefan Norblin Subba Ghosh Sudhir Khastgir Sukhvinder Singh Sunil Das Sunil Madhav Sen Thota Vaikuntam Tyeb Mehta V. Nageshkar

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India’s Rockefeller Artists showcases iconic works of the Indian painters and sculptors who travelled to the US on philanthropic grants from the JDR 3rd Fund (1963–1979) and later through the Asian Cultural Council. These artists were exposed to American art and shared their own learnings and experiences through these enriching cultural exchanges. The show examines how and why these artists were selected; their relationships with each other and the American art milieu; the impact of the experience on their work; and the creation of a community of Rockefeller artists.

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An exploration of the relationship between art and ecology through a visit to the house-museum of artists Chintamoni and Amina Kar with Prasanta Dan, along with a foliage study session in the idyllic bird sanctuary that surrounds it.

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A guided walk by urban history researcher Sujaan Mukherjee, uncovering the forgotten histories of monuments and sites around the Indian Museum, and their changing fates after Independence.

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Known for his portraits and landscapes rendered in academic-realist style, V. B. Pathare studied painting under S. L. Haldankar in Bombay and Prof. Martin Latuterburg in Bern, Switzerland. After studying portraiture under the renowned Sir Charles Dugdale in London, Pathare painted portraits of several national leaders over time, from Mahatma Gandhi, Rabindranath Tagore and Mahatma Jyotiba Phule to Indira Gandhi and Maharaja Sayajirao Gaekwad of Baroda. Learn More

Born into a family of classical musicians in Cuttack, Orissa, Gopal Sanyal came to Calcutta in 1948 and took a diploma in fine arts from the Government College of Arts and Crafts in 1957. A national scholarship awardee in painting for three years from the Government of India, Sanyal was a founder member of Calcutta Painters and had exhibited at its inaugural group show at All India Fine Arts and Crafts Society, New Delhi, in 1963; he was also a lecturer in fine arts. Learn More