Search results for: 'Talks around the Ta'

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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‘Iconic Masterpieces of Indian Modern Art, Edition 02’, the second iteration of DAG’s annual exhibition that redefines the concept of modernism in the Indian context, will be on view in New Delhi this month. Timed to coincide with the launch of its new gallery in the capital, ‘Iconic Masterpieces’ brings together the finest instances of art created in the country by Western and Asian travelling artists and Indian masters spread a little over two centuries. Selected for their rarity, historicity, and excellence, each work of art in this exhibition marks the zenith in terms of the quality of art created in different periods and styles in the subcontinent.

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Most shows at DAG take time to develop because of the quality of research and scholarship they require to mount, but even by our own exacting standards, Continuum has taken longer than most. This, a retrospective in a sense of the six artists who formed the Progressive Artists’ Group, is seminal because it is for the first time since 1950 that the six artists forming the core group have been brought together in an exhibition of their works. The Progressives have become the rallying point for the modern movement in Indian art, and are considered among the most important artists of the last and current century. Of these, M. F. Husain, F. N. Souza and S. H. Raza dominate the market. Alongside, works by their contemporaries K. H. Ara, H. A. Gade and S. K. Bakre, who have largely been seen to have underperformed in comparison, will help re-draw such distinctions and place them on the same platform as their better-known peers. It will re-define their historical importance and gain them the recognition that is their due. Maqbool Fida Husain M.F.Husain Hari Ambadas Gade Syed Haider Raza Krishnaji Howlaji Ara Sadanandji k. Bakre Francis Newton Souza

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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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A musical evening at Prasad Tagore Palace, the heritage residence of Pramantha Tagore, preceded by a conversation with Sujaan Mukherjee about the Tagore family’s ties to music, theatre, and art patronage.

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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

A great number of short-lived but nonetheless significant art movements arose in India over the twentieth century as Indian artists struggled with evolving or arriving at their identity as modern artists and an appropriate visual language of Indian modernism. One of the most significant amongst these is the artist collective, Group 1890, formed in 1962 with twelve young artists, led by the artist and art critic J. Swaminathan. The group consisted of J. Swaminathan, Gulammohammed Sheikh, Himmat Shah, Jeram Patel, Ambadas, Jyoti Bhatt, Raghav Kaneria, M. Reddeppa Naidu, Rajesh Mehra, Eric Bowen, S. G. Nikam and Balkrishna Patel. Ambadas Balkrishna Patel Eric Bowen Gulammohammed Sheikh Himmat Shah J. swaminathan Jeram Patel Jyoti Bhatt Raghav Kaneria Rajesh Mehra Reddappa Naidu S. G. Nikam

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The 1960s was a period of immense change around the world, and it had deep ramifications on India’s socio-political scenario. The country had left behind the jubilation of Independence and was feeling the pinch of a nation grappling with the issues of development that impacted society and environment. A war with China in 1962 and Pakistan in 1965 had far-reaching implications on the national psyche— the first of shame, the latter of pride. Crippling shortages and unemployment were impacting life, even as the country’s success with the Green Revolution was directed at self-sufficiency. Migration from the villages to urban centres was increasing. Disparities—economic, gender or class—provided fertile ground for the alienation of the other. The more anglicised among the youth found themselves being drawn into the vortex of a global hippie movement. A. A. RAIBA AMBADAS ANUPAM SUD AVINASH CHANDRA BIKASH BHATTACHARJEE BIMAL DASGUPTA DHANRAJ BHAGAT F. N. SOUZA G. R. SANTOSH HIMMAT SHAH J. SULTAN ALI J. SWAMINATHAN JAMINI ROY JERAM PATEL JOGEN CHOWDHURY JYOTI BHATT K. G. SUBRAMANYAN K. LAXMA GOUD KRISHEN KHANNA LAXMAN PAI M. F. HUSAIN MADHVI PAREKH P. T. REDDY PARITOSH SEN PRABHAKAR BARWE PRODOSH DASGUPTA PROKASH KARMAKAR RABIN MONDAL RAM KUMAR RAMESHWAR BROOTA S. H. RAZA S. K. BAKRE SAKTI BURMAN SATISH GUJRAL SHANTI DAVE SOHAN QADRI SOMNATH HORE SUNIL DAS ZARINA HASHMI

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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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