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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.

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This historic exhibition based on the association twenty-seven Indian artists had with art institutions, museums and art movements in Paris throws light on France as a cradle of modernism and what Indian artists gained from this relationship. Akbar Padamsee Amrita Sher-Gil Anjolie Ela Menon Arun Bose Chintamoni Kar Himmat Shah Jehangir Sabavala Jogen Chowdhury K. K. Hebbar Kanwal Krishna Krishna Reddy Laxman Pai Laxman Shrestha Nalini Malani Nasreen Mohamedi Nirode Mazumdar P. Khemraj Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rajendra Dhawan Ram Kumar Sailoz Mukherjea Sakti Burman Sunil Das Syed Haider Raza V. Nageshkar V. Viswanadhan Zarina Hashmi

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Born in 1922, pioneering modernist sculptor Ardeshir M. Davierwalla—fondly called Adi—was a pharmaceutical chemist by training; he went to school in Coonoor, Tamil Nadu, and studied pharmaceutical engineering at the Victoria Jubilee Technical Institute (now known as the Veermata Jijabai Technological Institute) in Bombay. Learn More

'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

The exhibition, Indian Divine, begins with the late nineteenth century art on mythological and religious themes from regions as diverse as Bombay and Bengal—these include Western style oil paintings of deities by such well-known artists of the academic realist styles as Raja Ravi Varma and M. V. Dhurandhar, and mythological/ religious episodes and figures featured in the hybrid style, a mix of Western realistic painting and traditional Indian art and concerns—the Early Bengal style, a very popular form, of which the exhibition presents over fifty works. It goes on to document Kalighat paintings on religious and mythological themes from the late nineteenth and early twentieth centuries that were very popular, as well popular bazaar prints on these themes that flooded the markets with the advent of lithography and mechanical printing. 19th-20th century Popular Print Art School Print A. A. Almelkar A. A. Raiba A. P. Bagchi Asit Haldar B. C. Law B. N. Jija Baburao Painter Bat-tala Print (Anonymous) Bikash Bhattacharjee Bipin Behari Goswami Bishnupada Roychowdhury Chittaprosad D. B. Onkar D. D. Burman D. N. Sharma Debabrata Chakraborty Devyani Krishna Dhanraj Bhagat Dhirendra Narayan Dhruva Mistry Dipen Bose Early Bengal Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal Haren Das Heramba Kumar Ganguly Indu Rakshit J. Sultan Ali Jamini Roy K. C. Pyne K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kalighat pat (Anonymous) Kalipada Ghoshal Kamal Chattopadhyay Kanwal Krishna Krishen Khanna Kshitindranath Majumdar Laxman Pai M. F. Husain M. V. Dhurandhar Madhvi Parekh Mukul Dey Nandalal Bose Nihar Ranjan Sengupta P. T. Reddy P. V. Janakiram R. Vijaivargiya Rabin Mondal Radha Charan Bagchi Raja Ravi Varma Ramananda Bandhopadhyay Ramendranath Chakravorty Ranada Charan Ukil Ravi Varma School (Anonymous) Reddappa Naidu Roopkrishna S. Dhanapal S. G. Vasudev Sanat Chatterjee Sanjay Bhattacharya Sarada Charan Ukil Shyamal Dutta Ray Sohan Qadri Sudhanshu Ghosh Sudhir Ranjan Khastagir Sunil Das Sunil Madhav Sen Surendranath Ganguly V. Nageshkar

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It is strange that Natvar Bhavsar, one of Indian art’s leading names, should never have been shown in India before. Having lived and worked in USA from 1962 onwards, it remains a mystery why his work has been seen in America but almost not at all in India. In spite of a few eminent collectors who have his work, Bhavsar has remained inexplicably ignored—an anomaly DAG is happy to correct with this seminal exhibition.

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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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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.

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Nine artists find special mention in India as ‘art treasures, having regard to their artistic and aesthetic value’, a directive by the Archaeological Survey of India in the 1970s. Spanning a period of one hundred years of art practice, these artists represent a diversity of art traditions and movements but are unified by one common thread: a return to Indian roots through context, theme, subject, and an engagement with identity.

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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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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

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For its fourth consecutive outing at Masterpiece London, DAG continued with the tradition of showing artists who had grown in appeal at the city’s truly cross-collecting ‘masterpiece’ fair, but with enough surprises to interest even the most fair-hardened visitor. From a large and vivid G. R. Santosh to a collection of small-sized Bireswar Sen watercolours, the selection was sensitively curated keeping in mind the cosmopolitan nature of London city and the visitors to the fair. Along with the Progressives, the exhibition included one of the finest sculptures created by Adi Davierwalla, remarkable paintings by Tyeb Mehta, Bikash Bhattacharjee, J. Sultan Ali, Avinash Chandra, and Hemen Mazumdar. As always, the emphasis in the booth lay in creating a rarefied visitor experience in which a handful of works allowed visitors to enjoy them at leisure without causing visual fatigue. The response was overwhelming. G. R. SANTOSH BIRESWAR SEN MADHVI PAREKH S. H. RAZA F. N. SOUZA TYEB MEHTA J. SULTAN ALI DHANRAJ BHAGAT BIKASH BHATTACHARJEE AVINASH CHANDRA SHANTI DAVE ADI DAVIERWALLA SATISH GUJRAL HEMEN MAZUMDAR SOHAN QADRI BIREN DE

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