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Samuel Bourne (1834—1912) was a British photographer known for his prolific seven years' work in India, from 1863 to 1870. Landing first at Madras, then Calcutta, he travelled across the subcontinent—leading some of the earliest photographic trips to the Himalayas—and wrote about his first impressions of the places he visited.

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European artists and architects were deeply influenced by the rich cultural heritage and artistic traditions of India, which, in turn, influenced their architectural designs. Artistic representations served as a bridge between cultures, leading to the incorporation of Indian motifs, styles, and decorative elements in colonial architecture. Learn More

Artists have often formulated their theories and observations to analyse and become aware of the cognitive modes of art making, and to associate with broader contemporaneous art movements. These manifestos become a window into an artist’s process. Prabhakar Barwe’s seminal treatise, <i>Kora Canvas</I> (The Blank Canvas, 1989), exemplifies his deep understanding of the fundamental elements of art and keen observations of nature and his surroundings.

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March to Freedom re-interprets the well-known story of the Indian freedom struggle and anticolonial movement through works of art and some historic artefacts. Drawn from the collections of DAG, they range from eighteenth and nineteenth century European paintings and prints, to lesser known works by Indian artists that merit greater recognition, alongside some iconic pieces. Rather than following the usual chronological path, the story is structured around eight themes. Each represents one arena, or stage, on which the anti-colonial struggle took place, to expand the story beyond politics, politicians, and battles (which also feature). Conceived to commemorate and celebrate the 75th anniversary of India’s independence, this visual journey seeks to do more. A. A. Raiba Asit Kumar Haldar Alfred Crowdy Lovett Atul Bose Baburao Sadwelkar Bijan Chowdhury Biren De C. Stanfield Charles D’Oyly Charles Shepherd Charles Walter D’Oyly Chintamoni Kar Chittaprosad Dattatraya Apte David Gould Green Devayani Krishna D. Newsome Edward Orme Gobardhan Ash Gopal Ghose G. Tait Haren Das Hemanta Misra Henri Cartier-Bresson Henry Martens Henry Salt Henry Singleton Jacob Epstein James Hunter James Fraser John Gantz John Jabez Edwin Mayall K. K. Hebbar Kanwal Krishna K. C. S. Paniker K. G. Subramanyan K. Sreenivasulu K. S. Kulkarni Laxman Pai M. Eyre Proudman M. K. Parandekar M. S. Morgan Nemai Ghosh N. R. Sardesai Prahlad Anant Dhond Paritosh Sen Prokash Karmakar P. T. Reddy Radha Charan Bagchi Robert Dodd R. Vijay Satish Gujral Satish Sinha S. Dhanapal Stella Brown Sudhir Khastgir Sushil Chandra Sen Sunil Das Sunil Madhav Sen Thomas Anbury Thomas Daniell Thomas Jones Barker V. A. Mali V. B. Pathare V. Veevers William Daniell William Hodges Anonymous Artists Learn More

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What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

One of the most distinguished families in Bengal, the Tagores exercised unparalleled influence over the cultural landscape of the region. The Nobel Laureate, Rabindranath Tagore (1861 - 1941), and two of his nephews, Gaganendranath Tagore (1867-1938) and Abanindranath Tagore (1871 - 1951) were recognised as India’s National Art Treasure artists. Sunayani Devi (1875 -1962), their sister, is regarded as one of modern India’s first women painters known by name. Her lyrical paintings and embroideries often looked inward to an imagined world of fables and myths. At the turn of the twentieth century, we see Abanindranath emerging as the founder of the Bengal School as he envisioned a new Indian art that was free of colonial influence, rooted in pan-Asianism. Gaganendranath, on the other hand, was a prolific satirist and cartoonist, who imagined new forms and perspectives inspired by Cubism. Together they formed the influential Indian Society of Oriental Art in 1907, while Rabindranath’s school and university at Santiniketan would continue to shape modern art in Bengal for generations to come.

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The wash technique has come to be associated in India with the art of the Bengal School, but the story of its origins in India takes us back to an era of rich cultural exchanges. In the early twentieth century artists like Abanindranath Tagore were trying to imagine a pan-Asian cultural identity, and they turned for inspiration to traditions from across Persia to Japan. Rabindranath Tagore's friendship with Okakura Kakuzō occasioned the arrival of several Japanese artists in Kolkata, such as Yokoyama Taikan, Hishida Shunsō and Katsuta Shōkin. While the latter found inspiration in the Hindu epics, artists in Bengal adapted techniques that were used by the Japanese, such as the wash technique or the subtle use of ink and brush. Since then, the wash technique has been interpreted widely by individual artists, offering an ethereal quality of light to their works, or, in some cases, like for Gaganendranath Tagore and Prosanto Roy, new possibilities of painting in various shades of darkness.

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Nine artists find special mention in India as ‘art treasures, having regard to their artistic and aesthetic value’, a directive by the Archaeological Survey of India in the 1970s. Spanning a period of one hundred years of art practice, these artists represent a diversity of art traditions and movements but are unified by one common thread: a return to Indian roots through context, theme, subject, and an engagement with identity.

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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.

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Colonization is perhaps best understood as a process that unfolded over time than as a single historical event. In India and South Asia it began with the East India Company acquiring rights over land in different parts of the country, with the occasional political victories won on the battlefields. Since the Battle of Plassey (1757), their power over legislative and judicial matters grew steadily, backed by a strong military presence. Following the First War of Independence in 1857, the British Crown brought most parts of the Indian subcontinent under its direct rule, continuing to hold power until 1947.

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