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Born in 1902 in Tripura, Ramendranath Chakravorty went to the Government College of Art in Calcutta in 1919 but left it in 1921 to join the newly founded Kala Bhavana at Visva-Bharati University, Santiniketan. Soon after graduation, he began his teaching career, first at Kalashala at Andhra National Art Gallery in Machilipatnam, and then at Kala Bhavana. He then joined Government School of Art, Calcutta, as a teacher in 1929, when Mukul Dey, the pioneer of dry point etching in India, was its principal. In 1943-46, Chakravorty was the school’s officiating principal when he set up its graphics department. Eventually, he became the school principal in 1949. Learn More

Sohan Qadri was truly a global artist whose travels and practice spanned India, its Himalayan neighbours, Africa, Europe and Canada. His paintings can be summed up as yantras that serve as visual meditation tools. Invocation – 27 is a vibrant sea of yellow ochre with a band of blue in the middle. A captivating work, Geeti Sen explains, the painting serves to offer viewers a profound experience of transformation and self-discovery.

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Chittaprosad couldn’t have created a more germane work in honour of the people who successfully fought their oppressors to create an independent nation. A close examination of his masterpiece, Bangladesh War, reveals the artist’s use of symbols of hope against persecution and domination, art collector and philanthropist Nadia Samdani tells us.

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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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Henry Singleton’s The Last Effort and Fall of Tippoo Sultaun belongs to a genre known as history painting: the depiction of important historical events, usually on a large scale, as if they were playing out in front of one’s eyes. Author and parliamentarian Shashi Tharoor and art historian Giles Tillotson explain the lively imagination deployed in Singleton’s painting that depicts the British assault on Seringapatam and the killing of its ruler, Tipu Sultan—himself the source of so many stories that it was difficult to unravel the truth from the many falsities spun by the biased colonial administration and historians of the time.

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For its debut in London, DAG created a booth-in-booth display space at the historical exhibition venue, Olympia London, that offered glimpses of the artworks from all around, thereby improving its visibility and attracting visitors. Its choice of art too reflected the best from its collection of the twentieth century modern masters of Indian art, who, in turn, had been influenced by movements and artists in the West. Several of these had worked, briefly or for the duration of their careers, in London and Europe. These included Avinash Chandra, F. N. Souza, Ram Kumar, S. H. Raza, Laxman Pai, Manjit Bawa,
S. K. Bakre, Sakti Burman and Sohan Qadri among others. The room within the booth was reserved solely for the paintings by F. N. Souza. Akbar Padamsee Ambadas Anjolie Ela Menon Avinash Chandra B. Prabha Bikash Bhattacharjee Dharamnarayan Dasgupta F. N. Souza G.R. Santosh George Keyt Himmat Shah J. Sultan Ali Jogen Chowdhury K. H. Ara K. K. Hebbar K. Laxma Goud Krishen Khanna Laxman Pai M. F. Husain Manjit Bawa N. S. Bendre P. T. Reddy Prodosh Das Gupta Rabin Mondal Ram Kumar S. H. Raza S. K. Bakre Sakti Burman Sohan Qadri Sunil Das

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To celebrate Independence Day a little differently, we worked with students of Indus Valley World School to create an exhibition using the artworks from the DAG collection.

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The Art of Santiniketan showcases the work of its four chief artists—Santiniketan’s founder, Rabindranath Tagore, its first principal and the architect of the Santiniketan pedagogy, Nandalal Bose, and his two illustrious students who went on to make a name for themselves as highly original and significant artists—Benode Behari Mukherjee and Ramkinkar Baij. Santiniketan was a path-breaking educational institution Rabindranath Tagore set up in rural Bengal in the early twentieth century, and the exhibition begins by examining its genesis in Tagore’s radical ideas of basing education in freedom and in the midst of nature. Benode Behari Mukherjee Nandalal Bose Rabindranath Tagore Ramkinkar Baij

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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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Kshitindranath Majumdar, born on July 31, 1891, in Jagtai village of Murshidabad in West Bengal, is often referred to as a saint-artist who considered art as a form of devotion. Strongly influenced by Vaishnavism as propounded by the fifteenth century saint, Chaitanya Mahaprabhu, Majumdar trained in hymn singing, interpreted legends from Indian epics, and acted in productions of the theatre group owned by his father. Learn More

The exhibition features several works of academic realist portraiture from early 20th century—vivid oil portraits by masters of the form such as Pestonji Bomanji, M. F. Pithawalla, Baburao Painter and L. N. Taskar as well as charcoal sketches by M. V. Dhurandhar, an academic artist of renown of the same period. The selection features Western academic oil-influenced works on mythological themes by the school referred to as Early Bengal and two works painted in a Raja Ravi Varma-derived style—an anonymous work by the Ravi Varma ‘School’ and Aroomoogam Pillay. A. A. Almelkar Abalall Rahiman Abani Sen Akbar Padamsee Ambadas Anonymous (EarlyBengal) Anonymous (Portraiture ) Anupam Sud Aroomoogam Pillay Avinash Chandra Baburao Painter Badri Narayan Bijan Choudhary Bikash Bhattacharjee Biren De Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Devyani Krishna Dharamnarayan Dasgupta F. N. Souza G. R. Santosh G. Ravinder Reddy Ganesh Haloi Gogi Saroj Pal Gopal Ghose H. A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. V. Haridasan Kshitindranath Majumdar L. Munuswamy L. N. Taskar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Mukul Dey N. S. Bendre Nandalal Bose Nasreen Mohammedi Nicholas Roerich Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Pestonji E. Bomanji Prosanto Roy Rabin Mondal Ram Kumar Ramkinkar Baij Ravi Varma ‘School’ S. H. Raza S. K. Bakre Sadequain Sailoz Mukherjea Shanti Dave Shyamal Dutta Ray Sohan Qadri Sudhir Patwardhan Sunil Das Sunil Madhav Sen Tarak Garai Ved Nayar Walter Langhammer

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