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As printing technologies improved around the turn of the 18th century, a large number of cheaply reproduced printed pictures—illustrated books, almanacs and mythological images—became available to the common people. This became an important vehicle of social change because people could own, produce and disseminate images of all kinds—from their beloved deities and favourite fictional characters to political cartoons critiquing colonial authorities. Printmaking was equally treasured by artists for its aesthetic potential, as techniques like lithography, etching, metal engraving, viscosity, gave practitioners infinite opportunities for creative exploration. This landmark exhibition gives us a comprehensive overview of the history of the printed picture in India.

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For its debut participation in the modern section of Art Dubai 2017, DAG focussed on the unconventional theme of Neo-Tantra as a way of bringing India’s unique school of abstraction to global attention. The booth featured works by two of the country’s leading practitioners of this school—G. R. Santosh and Biren De. The stunning, colour- and energy-filled canvases drew all eyes towards itself, making it the singularly most-visited booth in the section.

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Based on the ‘March to Freedom’ exhibition quizmaster Aryapriya Ganguly asks questions about the journey towards Indian independence and beyond.

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An intimate evening at the home of the artist Shanu Lahiri, featuring stories about the family collection and archive told by a family member, and looking at the close-knit world of Calcutta’s creative community post-independence.

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English painter George Chinnery, who spent almost his entire career in the East and is today celebrated for his Oriental pictures of idyllic, daily scenes from India and China, was born in London on 7 January 1774.

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Well-known for his silkscreen prints, Paramjeet Singh was born and brought up in Jamshedpur in present-day Jharkhand where career prospects appeared limited to engineering or medicine. His parents hoped he would study architecture, but destiny had other plans as a friend took Singh to a local art class, which spurred his interest in drawing and painting. Learn More

Born in Gujarat to a family of farmers, Nagji Patel grew up making clay toys as part of playing with village children. He joined the painting course at Faculty of Fine Arts, M. S. University, Baroda, but eventually switched to sculpture, which he found less daunting than painting. He obtained an M.F.A. in sculpture in 1964 and in the same year won a travelling scholarship from the Government of India, which allowed him to visit quarries across the country and interact with stone carvers. Learn More

Growing up in Dehradun, Latika Katt learnt to observe everything closely through the numerous trekking expeditions she took with her botanist father. She completed her bachelor’s in fine arts from Banaras Hindu University and later completed her master’s from the Faculty of Fine Arts, M. S. University, Baroda, in 1971. Interestingly, hers was the first art degree batch of the prestigious institution and she was the first female student to receive a gold medal in sculpture from the university. Later, in 1981, she received a research scholarship from the Slade School of Art, London. Learn More

Known for establishing the multi-arts complex, Bharat Bhavan, in Bhopal, and for foregrounding tribal art on the Indian art horizon, Jagdish Swaminathan took up the arts professionally later in life, despite an early aptitude towards drawing and painting. Learn More

Master printmaker Harendra Narayan Das, popularly known as Haren Das, was born in Dinajpur in present day Bangladesh on 1 February 1921. He took a diploma in fine art, with specialisation in graphic arts, from the Government College of Arts and Crafts, Calcutta, in 1938. He worked almost exclusively in printmaking at a time when oil painting ruled popular consciousness and prints were considered inferior. Learn More