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‘Iconic Masterpieces of Indian Modern Art, Edition 2’ opened on 11 February at DAG’s Janpath Gallery in New Delhi featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Kishore Singh speaks on P. Khemraj’s ‘Charpoi’ painting and its sensualist language. The autobiographical elements of the work and its depiction of universally felt emotions within a language of abstraction, personalizes its appeal. Learn More

Gogi Saroj Pal was one of the earliest women artists of India to paint the female body as a receptacle of patriarchal gaze, a trope that she has continued to explore right through the seventh decade of her life. She speaks with commendable candour in this short video on how art helped liberate her as an individual. Learn More

Shobha Broota’s pictorial interpretation of the resonance of classical Indian ragas forms the essence of her celebrated style in which she conveys their subtle variations through minimal use of colours. Born in 1943 in New Delhi in an artistic family that inspired her to study art, Broota obtained a diploma in painting from College of Art, New Delhi, in 1964. Learn More

As with its history, trade, and culture, so with its art, India has always stood at the crossroads of assimilation, adaptation, change, and experimentation. Ancient and medieval art practices have informed her artists in the 20th century—a point when European and Asian movements found acceptance before being turned into a vibrant lexicon that has remained central to the pursuit of art in the subcontinent. Singapore

AVINASH CHANDRA BIRESWAR SEN F. N. SOUZA G. R. SANTOSH GOGI SAROJ PAL GOPAL GHOSE J. SULTAN ALI LAXMAN PAI M. F. HUSAIN MADHVI PAREKH NATVAR BHAVSAR S. H. RAZA SHANTI DAVE SHOBHA BROOTA SOHAN QADRI Learn More

A workshop by Priyank Patel, from the Department of Geography, Presidency University, for ages 16 and above, on mapmaking in the colonial and postcolonial era and how maps of Calcutta (and later, Kolkata) were shaped through these different ways of knowing the world.

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The DAG Archive has over 90,000 photographs taken by Nemai Ghosh, a bulk of which includes still photographs and behind the scenes images of films as well as candid and staged portraits of Satyajit Ray. In conjunction to these materials, DAG Archive has also acquired a set of two notebooks of Ray which contains the hand-written film scripts of <i>Ghare Baire</I> (The Home and The World, 1984) and Samapti (The Conclusion) which is one of the short films from the anthology, Teen Kanya (Three Women, 1961). Interestingly, both these films are adaptations from Rabindranath Tagore’s literary works.

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January 2022 marked an incredible culmination in the life and career of Madhvi Parekh whose journey began from a small village in western India and has taken her, against incredible odds, to the world’s most glittering cities and capitals on the strength of her art practice. At the Paris Haute Couture Week in January, audiences around the world saw Dior launch its new spring/ summer 2022 range against striking tapestries inspired by her paintings made over a six-decade career that has had no parallel in Indian art. Often extolled as a ‘woman’ painter, Madhvi Parekh’s art has never been premised on gender. Instead, she occupies an artistic realm with strong ethical values based on a sense of humanitarianism, environmental inclusion, and memory.

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Stepping up its efforts to familiarise viewers with the extensive range of Indian modern art, DAG occupied an extensive booth at the India Art Fair 2014, where over 300 paintings and sculptures were displayed, featuring about 125 artists. The specially designed booth was the centre of attraction at the fair and the most prominent destination for art lovers wanting to understand the development of Indian art from the point of its history, chronology, movements, periods, regions, or genres. It was an art history lesson brought to life and was thronged by visitors. Special talks were organised at the booth. A 332-page catalogue was specially published for the fair and remains a compendium of India’s greatest artists ever. A. A. Almelkar A. A. Raiba A. D. Tavaria A. M. Davierwalla Abalall Rahiman Abanindranath Tagore Akbar Padamsee Altaf Amalnath Chakladhar Ambadas Amitava Aroomoogam Pillay Arpana Caur Avinash Chandra B. C. Law B. Prabha Badri Nath Arya Bal Chhabda Benjamin Hudson Benode Behari Mukherjee Bhupen Khakkar Bijan Choudhary Bikash Bhattacharjee Bimal Dasgupta Bipin Behari Goswami Biren De Bireswar Sen Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Dharamanarayan Dasgupta Early Bengal Oil (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Haren Das Hemanta Misra Hemendranath Majumdar Henry Singleton Himmat Shah Indra Dugar J. Sultan Ali J. Swaminthan Jacob Epstein Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kalighat Pat Kanwal Krishna Khagen Roy Kisory Roy Krishen Khanna Kshitindranath Majumdar L. Munuswamy L. N. Taskar L. P. Shaw Laxman Pai M. A. R. Chughtai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manjit Bawa Manu Parekh Meera Mukherjee Mohan Samant N. R. Sardesai N. S. Bendre Nandalal Bose Nemai Ghosh Nikhil Biswas P. Chander Sheker P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Portrait (Anonymous) Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Raghav Kaneria Raja Ravi Varma Ram Kumar Ramendranath Chakravorty Rameshwar Broota Ramkinkar Baij Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. L. Haldankar S.K. Bakre Sailoz Mukherjea Sankho Choudhuri Satish Gujral Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Somnath Hore Suhas Roy Sunil Das Sunil Madhav Sen Thomas Daniell Tyeb Mehta V. Nageshkar V. S. Gaitonde Ved Nayar

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DAG debuted at the prestigious London fair in its seventh edition held in 2016. The gallery exhibited a delectable range by modern Indian masters such as Hemen Mazumdar, Rabindranath Tagore, F. N. Souza, G. R. Santosh and Avinash Chandra. Works on display included expressionist paintings by Rabindranath Tagore, metal sculptures by S. K. Bakre, erotica-inspired art by Avinash Chandra and Hemen Mazumdar, and tantric meditations of S. H. Raza and G. R. Santosh. The museum-quality show was executed along with an event-specific publication. Avinash Chandra Bikash Bhattacharjee Dhanraj Bhagat F. N. Souza G. R. Santosh Hemendranath Mazumdar Kshitindranath Majumdar M. F. Husain Rabindranath Tagore Radha Charan Bagchi Ramkinkar Baij S. K. Bakre S. H. Raza F. N. Souza George Keyt Jehangir Sabavala K. K. Hebbar Krishen Khanna Natvar Bhavsar Ranbir Kaleka Rameshwar Broota Krishen Khanna Ram Kumar Tyeb Mehta Rabin Mondal Jamini Roy

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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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Sohan Qadri was born in a wealthy farming family in Punjab’s Chachoki village on 2 November 1932. When he was seven, he came across two spiritualists living on the family farm—Bikham Giri, a Bengali Tantric-Vajrayan Yogi, and Ahmed Ali Shah Qadri, a Sufi. Both gurus had a tremendous impact on young Qadri and taught him spiritual ideals through meditation, dance, and music. His association with them heralded a lifelong commitment to spirituality and art. Learn More

Born in Shivpur Diyar in Ballia district of Uttar Pradesh, Muni Singh studied at College of Art, Lucknow. In 1963, he received formal training in fresco-making from Banasthali Vidyapith, Rajasthan. A contemporary of Badri Nath Arya, R. S. Bisht, and Sanat Chatterjee, Singh’s preferred medium was watercolour. He mastered the miniature style of painting—Mughal, Rajput, and Pahari—and translated it into his own idiom and technique. Learn More