Search results for: 'Devi pra'

The search for abstraction in Indian art in the early years of Independence was born out of a desire among artists to attain an independent idiom of modernism. Rooted in the country’s philosophical and religious aesthetic, Prabhakar Kolte is among the leading practitioners engaged in this quest. A master of poetic and metaphysical abstractionism, Kolte received a diploma in painting from Sir J. J. School of Art, Bombay, in 1968. Initially, he freelanced as an illustrator, also working as a designer at Bombay Dyeing. Learn More

Born in Nagpur, B. Prabha became an artist at a time when not many Indian women practiced it as a profession. She studied at the Nagpur School of Art and obtained a diploma from Sir J. J. School of Art, Bombay, in 1955. Learn More

Sunayani Devi was born on 18 June 1875 in the Tagore family of talented writers and painters—Nobel-laureate Rabindranath Tagore was an uncle, and Gaganendranath and Abanindranath Tagore were her elder brothers. Essentially a self-taught artist, she witnessed the Bengal renaissance, but it was only in her thirties that she began to paint, encouraged by her husband, the grandson of reformist Raja Ram Mohun Roy. Learn More

The 2015 edition of the India Art fair saw DAG securing a lavish booth across two different spaces spread over 11,000 sq. ft. Likened to a museum (albeit a temporary one), the gallery presented a show of close to one thousand artworks that consisted of both paintings and sculptures. The thematically curated exhibition consisted of nine categories: pre-modern art, the Bengal school, academic realism, the Bombay Progressive artists, high modernism, the Baroda School and Group 1890, the Cholamandal artists, tantra and sculptures. This categorically-placed collection successfully attempted to showcase the dynamic range of Indian art over two hundred years. A special sculpture gallery was set up in a covered courtyard and featured the largest sculpture in India—by K. S. Radhakrishnan. Pre-Moderns Early Bengal Kalighat Pat Company School Popular Prints Birth of Modernism M. R. Achrekar Almelkar Radha Charan Bagchi Richard Barron Pestonji E. Bomanji Atul Bose Sakti Burman William Carpenter Jogen Chowdhury Devraj Dakoji Thomas Daniell John Deschamps M. V. Dhurandhar Indra Dugar J. P. Gangooly Olinto Ghilardi S. L. Haldankar K. K. Hebbar Benjamin Hudson D. C. Joglekar Prahlad C. Karmakar J. A. Lalkaka B. C. Law Hemendranath Mazumdar M. Mali H. Muller Ramaswamy Naidu M. K. Parandekar William Parker Prema Pathare V. B. Pathare M. F. Pithawalla Portraiture (Anonymous) Thomas Prinsep Abalall Rahiman ‘Ravi Varma School’ Kisory Roy Baburao Sadwelkar N. R. Sardesai Bireswar Sen Lalit Mohan Sen Sushil Chandra Sen S. G. Thakar Singh Satish Chandra Sinha L. N. Taskar Raja Ravi Varma Revivalism and Beyond Radha Charan Bagchi Bengal School (Anonymous) Nandalal Bose Ramendranath Chakravorty M. A. R. Chughtai Haren Das Sunayini Devi 438 Mukul Dey Surendranath Ganguly Asit Kumar Haldar Chintamoni Kar Kshitindranath Majumdar Indu Rakshit Prosanto Roy Bisnhupada Roychowdhury D. P. Roy Chowdhury Abanindranath Tagore Sarada Charan Ukil Ramgopal Vijaivargiya Jamini Roy Santiniketan: A New Expressionism Ramkinkar Baij Nandalal Bose Benode Behari Mukherjee The Bengal Famine in Art Gobardhan Ash Ramkinkar Baij Chittaprosad Somnath Hore Bengal Modernist Calcutta Group Gopal Ghose Hemanta Misra Prankrishna Pal Paritosh Sen Sunil Madhav Sen Calcutta Painters Nikhil Biswas Bijan Chowdhury Jogen Chowdhury Prokash Karmakar Rabin Mondal Society of Contemporary Artists Bikash Bhattacharjee Sunil Das Shyamal Dutta Ray Ganesh Haloi Ganesh Pyne Lalu Prasad Shaw Lone Stars: Other Bengal Modernists Amalnath Chakladhar Partha Pratim Deb Nemai Ghosh Somnath Hore Sudhir Ranjan Khastgir Sailoz Mookherjea Gaganendranath Tagore Rabindranath Tagore Rise of Modernsim K. H. Ara S. K. Bakre Bal Chhabda H. A. Gade V. S. Gaitonde M. F. Husain Krishen Khanna Ram Kumar Tyeb Mehta Akbar Padamsee S. H. Raza Mohan Samant F. N. Souza A Modern Vernacular Baroda School N. S. Bendre Devraj Dakoji Shanti Dave Bhupen Khakhar Dhruva Mistry Haku Shah Nilima Sheikh K. G. Subramanyan Vivan Sundaram Group 1890 Ambadas Jyoti Bhatt Eric Bowen Jeram Patel Raghav Kaneria Himmat Shah Gulammohammed Sheikh J. Swaminathan Alternate Sensibilities Discourses in Feminism Arpana Caur Nalini Malani Navjot Gogi Saroj Pal Anupam Sud A Language of Minimalism Zarina Hashmi Nasreen Mohammedi The Topsy Turvy World of Magic Realism Amit Ambalal Sakti Burman Dharamnarayan Dasgupta Ranbir Singh Kaleka Sanat Kar P. Khemraj Anjolie Ela Menon New Delhi Modernists Amitava Manjit Bawa Rameshwar Broota Shobha Broota Bimal Dasgupta Biren De Manu Parekh Ved Nayar Ramachandran G. R. Santosh Arpita Singh Silpi Chakra Group Dhanraj Bhagat Avinash Chandra Satish Gujral Bishamber Khanna Devayani Krishna Kanwal Krishna K. S. Kulkarni C. Sanya Mumbai Modernists Altaf Prabhakar Barwe Chittaprosad K. K. Hebbar George Keyt Gieve Patel Prabha Raiba V. Nageshkar Jehangir Sabavala Laxman Shreshtha Region and Identity Cholamandal Artists’ Village J. Sultan Ali Reddappa Naidu Akkitham Narayanan K. C. S. Paniker K. Ramanujam M. Senathipathi S. G. Vasudev V. Viswanadhan Modernists of the South K. M. Adimoolam R. B. Bhaskaran S. Dhanapal P. V. Janakiram L. Munuswamy P. Santhanraj Laxman Pai K. Laxma Goud Badri Narayan G. Ravinder Reddy Krishna Reddy P. T. Reddy S. Krishnaswamy Srinivasulu Thota Vaikuntam Sacred and Sensual Neo-Tantra as a Modern Conceit Jyoti Bhatt Sunil Das Biren De K. V. Haridasan Jeram Patel Sohan Qadri P. T. Reddy G. R. Santosh Erotic Art Ramkinkar Baij Sunil Das K. Laxma Goud M. F. Husain Ranbir Singh Kaleka Prokash Karmakar K. S. Kulkarni Laxman Pai P. T. Reddy G. R. Santosh F. N. Souza Modernism in Indian Sculpture Ramkinkar Baij S. K. Bakre P. Roy Chowdhury Jogen Chowdhury Sankho Chaudhuri Prodosh Das Gupta M. Davierwala Jacob Epstein Tarak Garai Bipin Behari Goswami Satish Gujral Asit Kumar Haldar Dhruva Mistry Mrinalini Mukherjee S. Nandagopal Navjot Nagji Patel K. S. Radhakrishnan S. H. Raza Jamini Roy Himmat Shah Prabhas Sen B. Vithal Other Sculptors

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The colours we see around us are a complex network of visual signifiers. Like spoken dialects, each colour contains multiple—at times conflicting—meanings that are moulded by a universal base and many regional variances. A. A. Almelkar A. H. Müller A. P. Santhanaraj Abalall Rahiman Abanindranath Tagore Ahmed Amir Altaf Ambadas Amit Ambalal Amitava Anonymous Anupam Sud Avinash Chandra Benode Behari Mukherjee Bijan Choudhary Biren De Bireswar Sen Bishamber Khanna Bishnupada Roy Chowdhury Chittaprosad D. C. Joglekar D. P. Roy Chowdhury Dattatraya Apte Devayani Krishna Devraj Dakoji Dharamanarayan Dasgupta F. N. Souza G. R. Iranna G. R. Santosh G. S. Haldankar Ganesh Haloi Gobardhan Ash Gogi Saroj Pal Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gonsalves J. Sultan Ali Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kanwal Krishna Kavita Nayar Krishna Reddy Lalit Mohan Sen Laxman Pai M. F. Husain M. K. Parandekar M. R. Acharekar M. S. Joshi Madhvi Parekh Manu Parekh Nand Katyal Nandalal Bose Natvar Bhavsar Navjot Nicholas Roerich Nikhil Biswas Om Prakash P. Khemraj Paramjit Singh Paresh Maity Paritosh Sen Partha Pratim Deb Prabhakar Barwe Prokash Karmakar Rabin Mondal Radha Charan Bagchi Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranen Ayan Dutta S. H. Raza S. K. Bakre S. L. Haldankar Sanat Chatterjee Sanat Kar Sankho Chaudhuri Satish Gujral Shanti Dave Shobha Broota Somnath Hore Sudhir Khastgir Sunayani Devi Sunil Das V. B. Pathare Vasundhara Tewari Broota Vivan Sundaram Walter Langhammer

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Devi Prasad Roy Chowdhury was born in Tajhat (in present day Bangladesh) in 15 June 15 1899. He learnt painting from Abanindranath Tagore, life drawing and portraiture from E. Boyess, and sculpting from Hiranmoy Roychoudhuri, with later training in Italy. Equally at ease with plaster and paint, he evolved his skills in bronze casting, and executed paintings that were an amalgam of the Chinese technique, the Japanese wash process, and his own scratching method, though his early paintings bore Tagore’s influence. Learn More

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

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The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

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This is the first-ever retrospective of the Indian modern artist Avinash Chandra who lived most of his life in the West, in London and New York. The artist, who had trained in New Delhi, left soon after for London, and most of his practice was limited to London and New York, the two cities he called his home till his unfortunately early death in 1991. In the roughly three-and-a-half decades of his career, Avinash’s work changed amazingly, reflecting his environment and milieu as he grew and adapted to cities vastly different from their Indian counterparts, with their own sub-cultures. That this happily coincided with a discovery of India, however superfluously, as a land of spirituality and sexuality, seemed to serve him well as his muse.

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The exhibition Tantra on the Edge: Inspirations and Experiments in Twentieth Century Indian Art is a pioneering attempt to gather together works of sixteen prominent Indian artists under the single thematic rubric of the transient but least definable phases of contemporary art in the last century. The exhibition features the artworks, inspirations, and experiments, of artists that had a sustained relationship with tantra philosophy, its vivid, abstract, sacred symbols, or their personal spiritual illuminations. Biren De G. R. Santosh Gogi Saroj Pal J. Swaminathan Jyoti Bhatt K. C. S. Paniker Manu Parekh P. T. Reddy Prabhakar Barwe R. B. Bhaskaran S. H. Raza Satish Gujral Shobha Broota Sohan Qadri Sunil Das V. Viswanadhan

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We might think of landscape as the most obvious and natural subject for painting. What could be simpler than an artistic response to the world of nature? And yet, civilisations have not always produced landscape paintings. Landscape as an independent genre—with the primary focus not on action but on scenery—was first championed by the Chinese in the ninth century. It was introduced into English art only in the eighteenth century. Elements of nature have appeared in Indian art since the murals of Ajanta, but in supporting roles, in images that are primarily sacred or courtly. Pure landscape painting arose in India only in the nineteenth century, in response to colonial practice. A A ALMELKAR AVINASH CHANDRA BABURAO SADWELKAR BHUNATH MUKERJEE BIJAN CHOUDHARY BIRESWAR SEN CHITTAPROSAD DEVRAJ DAKOJI DEVYANI KRISHNA DHARAMANARAYAN DASGUPTA GANESH HALOI GOBARDHAN ASH HAREN DAS K. K. HEBBAR KANWAL KRISHNA KISORY ROY M. K. PARANDEKAR M. V. DHURANDHAR MANISHI DEY MUKUL DEY New Found Lands NIKHIL BISWAS PESTONJI E BOMANJI PRAN KISHAN PAUL RABIN MONDAL RAMENDRANATH CHAKRAVORTY RAMKINKAR BAIJ SAKTI BURMAN SUNIL DAS THOMAS DANIELL WILLIAM HODGES WILLIAM PARKER

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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).

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