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That Anupam Sud is one of the most prominent printmakers in the country is a given, even though it would be unfair to limit so versatile an artist to only being a printmaker. Indeed, her body of work includes paintings, drawings, sculpture, bookmaking—and as you will see through the pages of the book accompanying the exhibition, a record-keeper observing the passage of time with self-portraits that she has undertaken to make periodically. A role-model for generations of artists and printmakers through her work and for her influence as a teacher at the prestigious College of Art, New Delhi, Anupam Sud’s name evokes recognition around the world where she has admirers, collectors of her work, and students who have trained under her.

From 1797, when British artist Thomas Daniell painted his masterly landscape of Mahabalipuram, to 2003, the year Rameshwar Broota's painting pitching man against metal resulted in a powerful image, the Indian art world has seen a succession of artists and movements that have enriched its vocabulary in more ways than one. Thomas Daniell Sita Ram Early Bengal School Raja Ravi Varma Edwin Lord Weeks Marius Bauer Ustad Allah Bakhsh Studio of Bourne & Shepherd M. V. Dhurandhar Hemendranath Mazumdar M. A. R. Chughtai Nandalal Bose Jamini Roy Laxman Pai J. Swaminathan Francis Newton Souza J. Sultan Ali Rabin Mondal S. H. Raza K. K. Hebbar Akbar Padamsee Tyeb Mehta K. H. Ara S. K. Bakre Bireswar Sen Nirode Mazumdar Shanti Dave Gulam Rasool Santosh Madhvi Parekh Satish Gujral Bikash Bhattacharjee Maqbool Fida Husain Meera Mukherjee Rameshwar Broota

An ancient civilisation, India was always prized for her fabled wealth—textiles, crafts, spices—her knowledge—literature, scholarship, universities—and her culture—music, dance, theatre, art. It is the only country with an unbroken tradition in each of these disciplines extending all the way back to the Indus Valley Civilisation. Ambadas Anonymous (Kalighat Pat) Arun Bose Asit Kumar Haldar Avinash Chandra B. Prabha Balraj Khanna Bikash Bhattacharjee Bimal Dasgupta Biren De Chittaprosad Company Painting D. P. Roy Chowdhury Early Views of India G. R. Santosh Ganesh Haloi Himmat Shah J. Sultan Ali Jamini Roy Jeram Patel K. S. Kulkarni Krishna Reddy L. Munuswamy M. F. Husain M. Suriyamoorthy Natvar Bhavsar Nikhil Biswas P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rajendra Dhawan S. G. Vasudev Sakti Burman Sanat Kar Sankho Chaudhuri Satish Sinha Shanti Dave Shyamal Dutta Ray Sunayani Devi Sunil Das Sunil Madhav Sen V. Viswanadhan

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.

The exhibition brings together important works of art spanning a wide range of genres, forms, periods and styles. They are grouped by genre and each thematic arrangement features a select collection of artworks that are milestones in Indian modernism, as well as in the development of the artistic language of several of the participating artists. A. A. Raiba Abalall Rahiman Akbar Padamsee Ambadas Amitava Avinash Chandra B. C. Sanyal B. N. Arya Baburao Painter Benode Behari Mukherjee Bikash Bhattacharjee Bipin Behari Goswami Biren De Chittaprosad Devyani Krishna Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel K. H. Ara K. K. Hebbar K. Laxma Goud Kshitindranath Majumdar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manu Parekh Mohan Samant N. R. Sardesai Nandalal Bose Nikhil Biswas P. Khemraj P. S. Chander Sheker P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Sunil Das Surendran Nair Tyeb Mehta V. Nageshkar Vivan Sundaram

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Queer-Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Queer-Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.

Feminist collective Samuho navigates the interplay between the interior and exterior lives of women at the cusp of nineteenth century reform movements through a performance-installation inspired by Shreepantha’s Keyabat Meye and the tradition of Prahasan.