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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, Giles Tillotson speaks on the Dutch Orientalist Marius Bower’s painting ‘Witte Pauw’ where he tries to evoke the sense of a Rajput court through motifs like peacock feathers, along with adding an element of fantasy. Learn More

‘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

‘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, Manu Parekh speaks about his 1971 painting ‘Shiva’, created at a pivotal juncture of his artistic career when he was trying to forge a visual language different from the Bengal School. Learn More

‘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, Manisha Parekh recalls her memory of her mother Madhvi Parekh as an artist working within spaces of familial intimacy.

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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, Alita Chandra, daughter of the artist Avinash Chandra reflects on the transcultural influences on his painting and his preoccupation with female subjects. Learn More

'Iconic Masterpieces of Indian Modern Art, Edition 2' opened on 11 February, featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Tapati Guha-Thakurta discusses Nandalal Bose seminal role in cultivating a new ethos of art practice at Kala Bhavan and reflects on his untitled work commonly known as ‘The Artist’s Studio’ drawn in the caricaturist mode. Learn More

Ghare Baire was a museum-exhibition showcasing over 200 years of art in Bengal. Presented by DAG in collaboration with the National Gallery of Modern Art and the Archaeological Survey of India, the exhibition was housed at the historic Currency Building, across twelve galleries featuring over 700 artworks. The exhibition was the largest showcase of Bengal Art, presenting a panoramic view of the evolution of art in a region that has been critical to the development of Indian modern art. The exhibition starts with the arrival of the travelling European artists at a time of exchange between Bengal and the world. This confluence of cultures stimulated new visual languages as we see in the Kalighat pat,  the Bengal School, and the subsequent emergence of artists who fearlessly and freely experimented with form and subject, reshaping the trajectory of art in India.

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The midwestern city of Chicago hosts one of America’s most important art fairs—Expo Chicago—in which DAG participated in an attempt to introduce Indian moderns to the diaspora there as well as to art-lovers in general. To introduce art to this midwestern population, DAG picked on well-established names from the Indian art marquee. This included the National Treasure artist Jamini Roy whose works outside India are a rarity since they cannot be exported. Others included the Progressives F. N. Souza and M. F. Husain, New York-based printmakers Krishna Reddy and Zarina Hashmi (both now deceased) and artist Natvar Bhavsar, abstractionists Sohan Qadri and G. R. Santosh, a rare sculpture by Prodosh Das Gupta, and a body of other modernists representing the diverse range of works created by Indian artists in the twentieth century. A suite of small format watercolour landscapes by Bireswar Sen was a highlight of the booth. Avinash Chandra Bireswar Sen Chittaprosad F N Souza F N Souza G R Santosh Ganesh Pyne Jamini Roy K.S Kulkarni Krishna Reddy Laxman Pai M F Husain Madhvi Parekh Natvar Bhavsar Paritosh Sen Prodosh Das Gupta Rabin Mondal Sohan Qadri Zarina Hashmi

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New York-based, Indian artist Natvar Bhavsar has been one of the most important painters of his generation. Influenced by the colour field artists of America in the 1960s, he became acquainted with them and took their language forward in his unique manner. A celebrated international artist, Bhavsar’s works have been widely collected by institutions and museums in America and the West.

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For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

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India’s return to Singapore to participate in Art Stage Singapore 2016 was fuelled by the strong curiosity it aroused the previous year, and it built on the relationships it had developed in the region with a strong selection of artworks by reputed artists as well as masters. It proved a felicitous experience and consolidated the gains from its previous sales and was a success. As is its norm, the large DAG booth had a big number of Indian artists represented by their finest work. A. A. Almelkar Ambadas Anjolie Ela Menon Avinash Chandra Bikash Bhattacharjee Biren De Francis Newton Souza G. R. Santosh Ganesh Haloi George Keyt Gogi Saroj Pal Gopal Ghose H. A. Gade J. Sultan Ali Jeram Patel Jogen Chowdhury K. H. Ara K. K. Hebbar K. Laxma Goud Laxman Pai Madhvi Parekh Maqbool Fida Husain P. Khemraj P. T. Reddy Rabin Mondal Ram Kumar Sakti Burman Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunil Das Syed Hyder Raza

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Francis Newton Souza, born on 12 April 1924, was expelled from school, then from his college—Sir J. J. School of art, Bombay—and later, as he insisted on saying, from his own country. Born in Goa, Souza’s catholic mother brought him up to be a priest, but he showed early signs of rebellion that would become an integral part of his life.

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