Search results for: 'Artists serie'

Among artists, Velu Viswanadhan is often referred to as ‘Paris’ Viswanadhan because he made the French capital his home. Born in 1940 in Kollam, Kerala, Viswanadhan joined Government College of Fine Arts, Madras, in 1960, where he studied under K. C. S. Paniker, and along with him became a founder-member of the Cholamandal Artists’ Village. Learn More

One of India’s most revered ‘non-objective’ painters—he preferred that term over ‘abstraction’—Vasudeo Santu Gaitonde was born in Nagpur in 1924. He received his diploma in painting from Sir J. J. School of Art, Bombay, in 1948. Impressed by his work, the members of the Progressive Artists’ Group—formed in 1947—pulled him into their meetings. The strength of his talent was soon recognised elsewhere—he won the first prize of the Young Asian Artists Association in Tokyo in 1957, and a John D. Rockefeller III Fund fellowship in 1964. Learn More

Born in 1907, Gobardhan Ash came into his own as an artist at a time when Indian art was in a state of historical flux, when the imagination of young artists was infused with the spirit of country’s freedom from colonial rule. He trained at the Government College of Art in Calcutta from 1926-30, and at the Government School of Arts and Crafts, Madras, till 1932. He was an active member of various artist collectives such as the Calcutta Group that he joined in 1950, the Art Rebel Centre, and the Young Artists Union, of which he was a founder member. Learn More

Born in Tellicherry, Kerala, Catfield Douglas belongs to the third generation of artists associated with the Madras Art Movement. Moving in the early 1990s to Cholamandal Artists’ Village, set up by K. C. S. Paniker, Douglas’s works are considered both expressionist and anthropocentric. Learn More

This exhibition looks at the diverse range, moods and styles that primitivism has taken in India, some artists practicing entirely in that style, while others experimenting with it in part, or sporadically. One can count simplicity and a move away from sophistication as key components, as also an inclination or at least a nod towards the folk. The exhibition does not attempt to be a comprehensive survey of India’s primitivists—there are others who would bear inclusion—but is an attempt to understand a body of work and how, given its Western countenance, it can be understood in the Indian context. More than anything else, it offers a clearer view than in the past of what primitivism might mean in the context of modern Indian art. Amrita Sher-Gil F. N. Souza George Keyt Himmat Shah J. Sultan Ali Jamini Roy Jogen Chowdhury K. G. Subramanyan K. S. Kulkarni M. F. Husain Madhvi Parekh Mohan Samant Rabin Mondal Rabindranath Tagore Ramkinkar Baij Sunayani Devi

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The exhibition presents views of the ancient city of Benares (now Varanasi) as depicted by foreign artists in the nineteenth and early twentieth centuries. 

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One of India’s nine national treasure artists, Nandalal Bose (1882—1966) forged a long and glittering career as the foremost artist-pedagogue bridging the late-colonial period and the first few decades after Indian independence. He maintained an active drawing practice throughout his life, with many small sketches done on postcards that he carried around with him as a sort of visual notebook.

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In a career spanning four decades, Amitava’s location as an artist has determined the authority that he brings to his practice. As an artist studying and working in the 1960s, Amitava Das experienced a decade of fragmented locii. The ’60s, the period of his education at the College of Art, was the decade of wars, fiscal difficulty and an uncertain polity in the wake of the death of Jawaharlal Nehru. Further, as a second generation pravasi (non-residing Indian) Bengali, the roiling political violence of West Bengal’s Naxal movement came to him through the filter of poetry, film and art—much as he would have received the existential writing of Camus, Genet and Rilke. Through the 1960s and ’70s, small groups of artists and filmmakers in different pockets in India had a heightened response: the state of the nation found an uncanny echo in the language of modernism, of the artist’s isolation and purity even within a state of uncertainty.

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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.

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The twentieth century was marked by two important decades—the 1910s, when the Bengal School saw the establishment of a revivalist practice that came to signify Indian modern art in general; and the 1950s, when a newly independent nation put its colonised past behind it and embraced a triumphant modernism. A. A. RAIBA ADI DAVIERWALLA AVINASH CHANDRA BABURAO SADWELKAR BADRI NARAYAN BIREN DE CHITTAPROSAD D. P. ROY CHOWDHURY DEVYANI KRISHNA DHANRAJ BHAGAT G. R. SANTOSH GANESH PYNE HAREN DAS Indra Dugar J. SULTAN ALI JYOTI BHATT K C S PANIKER K S Kulkarni K. G. SUBRAMANYAN K. K. HEBBAR KANWAL KRISHNA KISORY ROY KRISHEN KHANNA KRISHNA REDDY Laxman Pai M. F. HUSAIN MOHAN SAMANT NANDALAL BOSE NIKHIL BISWAS P. T. REDDY PARITOSH SEN S. H. RAZA S. K. BAKRE SAKTI BURMAN SHANTI DAVE SUNIL DAS SUNIL MADHAV SEN VISHWANATH NAGESHKAR

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The Madras Art Movement that emerged in the early 1960s was a late phenomenon of modernity in south India within the national context. It developed as a regional phenomenon that began to take shape from the mid-1950s onwards as a search for authenticity in modernism derived largely from the region’s cultural heritage. D. P. ROY CHOWDHURY A P SANTHANARAJ ACHUTHAN KUDALLUR AKKITHAM NARAYANAN ALPHONSO DOSS C DOUGLAS C J ANTHONY DOSS J. SULTAN ALI K C S PANIKER K M ADIMOOLAM K RAMANUJAM K SREENIVASULU K V HARIDASAN L MUNUSWAMY M SENATHIPATI M SURYAMOORTHY P GOPINATH P PERUMAL P S NANDHAN PANEER SELVAM R B BHASKARAN REDDEPPA NAIDU Rm. PALANIAPPAN S G VASUDEV S. DHANAPAL S. NANDAGOPAL V. VISWANADHAN VIDYASHANKAR STHAPATI

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