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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

The 1970s was a decade like no other for a young India gaining in confidence nationally as well as on the global firmament. In 1971, Prime Minister Indira Gandhi led the country to a decisive victory against Pakistan, leading to the creation of Bangladesh. The Green Revolution had borne fruit, and Operation Flood now launched a milk revolution in the country, and the culmination of the privy purse turned it into a socialist republic with a strong handle on its economic button. Internationally, much was made of India’s resilience, and the country’s soft power began to win it recognition for its films, fashion, food and culture. India had arrived. ALTAF AMBADAS AMITAVA AVINASH CHANDRA BIKASH BHATTACHARJEE BIREN DE BIRESWAR SEN ERIC BOWEN F. N. SOUZA G. R. SANTOSH GANESH HALOI GOGI SAROJ PAL INDRA DUGAR J. SULTAN ALI J. SWAMINATHAN K C S PANIKER K. K. HEBBAR K. LAXMA GOUD KRISHNA REDDY LAXMAN PAI M. F. HUSAIN MADHVI PAREKH NAVJOT ALTAF P. T. REDDY PARITOSH SEN PRABHAKAR BARWE PRODOSH DASGUPTA PROKASH KARMAKAR RABIN MONDAL RAJENDRA DHAWAN RAM KUMAR S G VASUDEV SATISH GUJRAL SHANTI DAVE SHYAMAL DUTTA RAY SOHAN QADRI TYEB MEHTA V. VISWANADHAN ZARINA HASHMI

Artist and institution-builder Shuvaprasanna’s residence is located in a leafy corner of Kolkata’s suburban township, Bidhannagar or ‘Salt lake City’, which was envisaged by the former Chief Minister of West Bengal, Dr. Bidhan Chandra Roy in the late 1950s. Having grown up elsewhere—in College Street, in fact—the artist only moved here in 2002-03 with his family, which included his wife and fellow-artist, Shipra Bhattacharya. In this photo-essay we will learn about Shuvaprasanna’s personal collection and the relationship between his collecting practices and his art-making.

Continuing its theme of introducing Indian abstractionists at Art Dubai, DAG handpicked works by eight eminent abstract artists and juxtaposed them to bring into focus how brushwork and colour are imbued with emotion and can compel viewers to spend hours studying such works. The artists presented by DAG at Art Dubai 2018—Ambadas, Sohan Qadri, Natvar Bhavsar, Avinash Chandra, Rajendra Dhawan, Shanti Dave, Ram Kumar and S. H. Raza—worked in different styles but their use of vivid colours highlighted this somewhat neglected genre of art in India that has begun to enjoy a premium in recent years. These artists had their studios in different parts of the world—Copenhagen, Oslo, New York, Paris, London, New Delhi—but had one thing in common: they were all of Indian origin and had trained and begun their careers in India. AMBADAS SOHAN QADRI NATVAR BHAVSAR AVINASH CHANDRA SHANTI DAVE G. R. SANTOSH J. SWAMINATHAN RAM KUMAR JERAM PATEL RAJENDRA DHAWAN K. V. HARIDASAN

A well-known poet and essayist, Prayag Shukla is also one the foremost writers on art in Hindi. He has authored monographs on artists like J. Swaminathan, M. F. Husain and Ambadas, expanding upon these artists’ relationships with local institutions and contexts of art-making in India since the 1960s.

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).

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.

One of the most important ways in which a work of art is authenticated is by checking its provenance. What does provenance mean and how does it affect the identity of an artwork itself? The concept has evolved historically over the years; below, we try to highlight some of the important aspects of this debate in our recurring series, Argot, that seeks to demystify some of the major ideas from the world of art.