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Art Lab by DAG’s Museums Programme is a pop-up art exhibition of facsimiles of works from the DAG Museum Collection that travels to schools and introduces students to modes of visual learning. After two successful iterations in CBSE and ICSE schools in Kolkata, Art Lab travelled to its first Bengali medium West Bengal Board school—Barisha Janakalyan Vidyapith for Girls. Through three days of workshops spread across two weeks, the students interacted with the artworks, learnt the basics of research, delved into historical material, and developed their own creative projects. Take a peek at some of the wonderful projects they curated as they took over the exhibition and made it their own.

The DAG booth at India Art Fair has always aspired to provide its thousands of visitors with their most unique art-viewing experience based on rarity, historicity, and quality, raising the bar each year with works of sterling importance in addressing the art history of the subcontinent.  Abanindranath Tagore, Allah Bux, Anonymous (Early Bengal), Dhanraj Bhagat Jamini Roy, Krishen Khanna, Ram Kumar, M. A. R. Chughtai, M. F. Husain, Madhvi Parekh, Nandalal Bose, Nirode Mazumdar, Prabhakar Barwe, S. K. Bakre, Sailoz Mookherjea, Shanti Dave, Sohan Qadri, Thomas Daniell, Raja Ravi Varma, Edwin Lord Weeks, F. N. Souza, M. V. Dhurandhar

This exemplary themed exhibition at DAG’s booth at the India Art Fair 2018 was a masterclass in Indian art dedicated to the nine National Treasure artists. This declaration in the decade of the 1970s was intended to identify artists whose contribution had national significance. Even though the selection appears arbitrary and argumentative, the nine artists cannot be faulted for the quality of their work and the role they played in segueing the pre-independence freedom movement with their role and responsibility as artists. Nandalal Bose Sailoz Mookherjea Abanindranath Tagore Jamini Roy Amrita Sher-Gil Rabindranath Tagore Gagnendranath Tagore Nicholas Roerich Raja Ravi Varma

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 DAG booth at the India Art Fair has gained iconic status for its selection and display of the finest works of Indian modern art. Over past editions, DAG had introduced pre-modern masters at its booth, and in 2022, it presented exemplary works by eighteenth and nineteenth century Indian and European artists at the fair. This was in addition to high quality works by the twentieth century masters.

This exhibition takes us on a journey into the lives and works of artists from a diverse range of traditions and practices. Despite differences in technique, philosophy and politics, they are united by an attempt to forge a new language of Indian art which rebels against existing visual vocabularies while seamlessly combining influences from European modernism and the rich history of visual arts from South Asia. This assimilation is achieved in different ways. From M. F. Husain’s figurative renditions of Indian deities to the many languages of abstraction developed by artists like Ram Kumar, Ganesh Haloi and others—we see artists responding variously to the socio-cultural problems of a post-colonial nation.

In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.

The India International Centre at New Delhi, in collaboration with the Amar Nath Sahgal Trust, presented a large suite of works by Amar Nath Sahgal (1922—2007), one of post-independent India’s foremost sculptors, in order to celebrate his centenary year in March 2023. 

The exhibition brings together important works of art spanning a wide range of genres, forms, periods and styles. They are grouped by genre and each thematic arrangement features a select collection of artworks that are milestones in Indian modernism, as well as in the development of the artistic language of several of the participating artists. A. A. Raiba Abalall Rahiman Akbar Padamsee Ambadas Amitava Avinash Chandra B. C. Sanyal B. N. Arya Baburao Painter Benode Behari Mukherjee Bikash Bhattacharjee Bipin Behari Goswami Biren De Chittaprosad Devyani Krishna Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel K. H. Ara K. K. Hebbar K. Laxma Goud Kshitindranath Majumdar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manu Parekh Mohan Samant N. R. Sardesai Nandalal Bose Nikhil Biswas P. Khemraj P. S. Chander Sheker P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Sunil Das Surendran Nair Tyeb Mehta V. Nageshkar Vivan Sundaram

The fifth edition in the Manifestations series continues the tradition of showcasing the very best of Indian modern art. Seventy-five artists feature in Manifestations 5, bringing together the country’s best known and most established modern artists. To reduce the work of one whole century (give or take a few decades more or less) could be flawed, for this most dynamic period in Indian art history covers many genres, styles, mediums, and influences, and is difficult to paraphrase, especially in the absence of a theme for the collection. It is for this reason that the selection has to be incisive, open to change till the very end, where the addition, or deletion, can change the contextual bird’s eye-view we hope to provide in every series. The exhibition is accompanied by our traditional publication that helps to create a comprehensive understanding about the exhibition’s curatorial decisions. A. H. Muller Altaf Ambadas Amit Ambalal Amitava Arpita Singh Avinash Chandra Badri Narayan Bhupen Khakhar Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen C. Douglas Chintamani Kar Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne Gogi Saroj Pal Gopal Ghose Himmat Shah Indra Dugar J. C. Seal J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni Krishen Khanna Kshitindranath Majumdar L. Munuswamy Lalu Prasad Shaw Laxman Pai M. F. Husain M. V. Dhurandhar Nandalal Bose Navjot Nikhil Biswas P. Khemraj Paritosh Sen Partha Pratim Deb Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Rameshwar Broota Ramkinkar Baij Rekha Rodwittiya S. H. Raza S. L. Haldankar Satish Gujral Shobha Broota Sohan Qadri Sunil Das Sunil Madhav Sen Surendran Nair V. S. Gaitonde Vasudha Thozhur Ved Nayar Viswanadhan Vivan Sundaram Zarina Hashmi

DAG’s emphasis for the 2019 edition of India Art Fair was a rarity—a selection of works of the kind visitors had not before seen. These included a glass mural by Avinash Chandra, a medium the artist loved but which had never before been shown in India; a large mural by Mrinalini Mukherjee; an artist’s chair by Prabhakar Barwe; evocative works by Hemendranath Mazumdar, Manjit Bawa, and Tyeb Mehta; powerful paintings by F. N. Souza, M. F. Husain, Rabin Mondal, and Krishen Khanna; exemplary abstract paintings by Ram Kumar, Shanti Dave, Sohan Qadri, J. Swaminathan, and G. R. Santosh; and other equally powerful artworks including a double-sided sculpture by Meera Mukherjee.

Avinash Chandra F N Souza G R Santosh Hemendranath Majumdar J Swaminathan Krishen Khanna M F Husain Madhvi Parekh Manjit Bawa Meera Mukherjee Mrinalini Mukherjee Paritosh Sen Prabhakar Barwe Rabin Mondal Ram Kumar S H Raza S K Bakre Shanti Dave Sohan Qadri Tyeb Mehta

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