Search results for: 'Indian Modern Art A Visual Histor'

The birth of Amrita Sher-Gil to an Indian father and Hungarian mother bequeathed to the nation one of its most incandescent artists. Known for her luminous paintings, her work changed the face of modern Indian art and paved the course it was to take in the country. In a rare sculpture of tigers made, poignantly enough, in the last year of her life, Amrita Sher-Gil is revealed as someone exploring new directions before her tragic demise in 1941.

Also known as Company School, this genre is the Indo-European style of painting made in India by Indian artists, most of whom worked under the patronage of the East India Company. Focusing on a spectacular painting, William Dalrymple takes us through a journey of this neglected yet outstanding genre of art from nineteenth century India.

The advent of abstraction is a defining moment in art history as we devise divisions between representational, figurative, and abstract art, with the need arising from this pivotal formal shift in the modern world. The term ‘figurative’ has come to represent an antithesis of sorts to the term abstract. One is representational of reality, the latter a derived (abstracted) representation or even non-representational (colour-field paintings for example).

Calcutta, flourishing with commerce and maritime trade during the nineteenth century, was regarded as the ‘second city’ of the British Empire. People thronged there in large numbers to make a livelihood, or in holy pilgrimage, seeking blessings at the Kali temple at Kalighat that had been re-built in 1809. Annada Prasad Bagchi Bamapada Banerjee B. C. Law C. W. Lawrie Kshetradas Chitrakar Panchanan Karmakar Madhav Chandra Das Ramadhan Swarnakar Ganganarayan Ghosh Nritya Lal Datta Press Kristohurry Das Chorebagan Art Studio Kansaripara Art Studio Calcutta Jubilee Art Studio Bat-tala

An online opportunity for young researchers and early career professionals, from History, Art History, Cultural Studies and related fields, to develop research projects under the guidance of eminent academicians and scholars.

What is the role of collectors and collections or archives in the world of art today? Does it simply allude to practices of producing a consumable past today or does it also aspire to question the ways in which history has been shaped by powerful interventions in the form of artworks, performances and installations?  In this series of conversations, we wanted to explore the idea of collecting recent or contemporary art—and how it inevitably takes us back to the moderns who influenced such practices heavily.