Search results for: 'kalighat pat works'

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The art of the twentieth century may be too recent for us to judge it from the viewpoint of longevity, but if the past is any criterion, art is set to outlive us by far—a reason why its documentation is one of the more important tasks before us. This is where the Manifestations series is so important. It encourages discussion and debates around the selection of unique works by seventy-five acknowledged artists spanning a century (or more) of Indian modernism across a range of variously permutable combinations: periods, movements, mediums, materials, regions.  Raiba Ambadas Arpana Caur Arun Bose Asit Kumar Haldar Avinash Chandra Bal Chhabda Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen C. Douglas Chittaprosad Devayani Krishna Dhanraj Bhagat Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal Himmat Shah Indra Dugar J. C. Seal J. Sultan Ali J. Swaminathan Gaganendranath Tagore Raja Ravi Varma Jamini Roy Jeram Patel Jyoti Bhatt K. Adimoolam K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Radhakrishnan Kalighat Pat (Anonymous) Khagen Roy Krishen Khanna L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain M. Senathipathi M. V. Dhurandhar N. S. Bendre Nandalal Bose Navjot Nemai Ghosh Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Partha Pratim Deb Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ranbir S. Kaleka Robert Ker Porter S. H. Raza Sakti Burman Satish Gujral Shanti Dave Shyamal Dutta Ray Gopal Ghose Sohan Qadri Sunil Das Sunil Madhav Sen Thota Vaikuntam Ved Nayar

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The exhibition features several works of academic realist portraiture from early 20th century—vivid oil portraits by masters of the form such as Pestonji Bomanji, M. F. Pithawalla, Baburao Painter and L. N. Taskar as well as charcoal sketches by M. V. Dhurandhar, an academic artist of renown of the same period. The selection features Western academic oil-influenced works on mythological themes by the school referred to as Early Bengal and two works painted in a Raja Ravi Varma-derived style—an anonymous work by the Ravi Varma ‘School’ and Aroomoogam Pillay. A. A. Almelkar Abalall Rahiman Abani Sen Akbar Padamsee Ambadas Anonymous (EarlyBengal) Anonymous (Portraiture ) Anupam Sud Aroomoogam Pillay Avinash Chandra Baburao Painter Badri Narayan Bijan Choudhary Bikash Bhattacharjee Biren De Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Devyani Krishna Dharamnarayan Dasgupta F. N. Souza G. R. Santosh G. Ravinder Reddy Ganesh Haloi Gogi Saroj Pal Gopal Ghose H. A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. V. Haridasan Kshitindranath Majumdar L. Munuswamy L. N. Taskar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Mukul Dey N. S. Bendre Nandalal Bose Nasreen Mohammedi Nicholas Roerich Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Pestonji E. Bomanji Prosanto Roy Rabin Mondal Ram Kumar Ramkinkar Baij Ravi Varma ‘School’ S. H. Raza S. K. Bakre Sadequain Sailoz Mukherjea Shanti Dave Shyamal Dutta Ray Sohan Qadri Sudhir Patwardhan Sunil Das Sunil Madhav Sen Tarak Garai Ved Nayar Walter Langhammer

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He was the colossus of the Indian art world whose reign over twentieth-century modern art remains unparalleled. M. F. Husain (1913-2011) was the face of Indian modernism and owned it completely. Having started out as a painter of billboards in Bombay, he became its unchallenged monarch as a member of the influential Progressive Artists’ Group in 1947. He claimed the first National Award instituted by the Lalit Kala Akademi in 1955, and went on to become India’s most celebrated artist. In a practice that spanned over seventy years, Husain was playful, experimental, provocative, controversial—but never mediocre.

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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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The nude. Just the term sends a frisson of excitement down the spine in most people. For the few of us who are part of the art fraternity, however, more than just the anticipation of being able to view the human body as an artistic work in its many forms and avatars, its beauty and its degradation both, is the true mark of an artist’s genius. And yet, the history of the nude in Indian art has remained curiously unmapped. A. A. Almelkar A. A. Raiba A. P. Bagchi A. Ramachandran Abalall Rahiman Akbar Padamsee Anita Roychowdhury Anupam Sud Avinash Chandra B. Prabha B.Vithal Bengal School (Anonymous) Bikash Bhattacharjee Chintamoni Kar Chittaprosad F. N. Souza G. R. Santosh George Keyt Gogi Saroj Pal Gopal Ghose Hemendranath Majumdar J. Sultan Ali Jamini Roy Jaya Ganguly Jehangir Sabavala Jeram Patel Jogen Chowdhury Jyoti Bhatt K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni L. Munuswamy Laxman Pai M. F. Husain M. R. Acharaker Madhav Bhattacharjee Maniklal Banerjee Nalini Malani Navjot Nikhil Biswas P. Khemraj P. T. Reddy Prodosh Das Gupta Prokash Karmakar R.Vijaivargiya Rabin Mondal Radha Charan Bagchi Rameshwar Broota Ramkinkar Baij Ranbir Kaleka Ravi Varma Press Rekha Rodwittiya S. Dhanapal Sakti Burman Satish Sinha Sudhir Khastgir Suhas Roy Sunil Das Sunil Madhav Sen Surendran Nair V. Nageshkar Ved Nayar

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Manifestations, DAG’s signature exhibition showcasing the very best of modern Indian art, appears this winter in its landmark tenth edition, bringing together seventy-five of India’s best-known and most established modernists. The artworks are grouped by genre into the categories of mythology, landscape, still-life, figurative, narrative and abstract art, and present the mature styles of the participating artists. Raiba A. M. Davierwalla Abanindranath Tagore Ambadas Arpana Caur Avinash Chandra Benode Behari Mukherjee Bikash Bhattacharjee Biren De Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Early Bengal (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose Haku Shah Hemanta Misra Hemendranath Majumdar Himmat Shah Indra Dugar J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. S. Radhakrishnan Kalighat Pat (Anonymous) Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Manu Parekh Meera Mukherjee N. S. Bendre Nandalal Bose Dharamnarayan Dasgupta Nikhil Biswas P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Piloo Pochkhanawalla Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Raghav Kaneria Raja Ravi Varma Ramkinkar Baij S. Dhanapal S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunayani Devi Sunil Das Sunil Madhav Sen Thota Vaikuntam V. Nageshkar

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An unassuming trailblazer, Gulam Rasool Santosh is the most important artist from the movement known as neo-tantra in Indian art, synonymous with masters such as Biren De and Sohan Qadri. Self-taught, Santosh began his career painting landscapes in his native Kashmir before being spotted by S. H. Raza, which enabled him to study at the Maharaja Sayajirao University at Baroda under the famous artist N. S. Bendre. After a few years of painting figurative and abstract works in the mould of the other Indian Progressives, Santosh’s art changed dramatically towards tantra when he had a mystical experience in the Amarnath cave in 1964. From then on, until his death in 1997, G. R. Santosh dedicated his life to the study and practice of tantra, a yogi as much as an artist.

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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

When we launched the Silver Series in May 2020 as our attempt to stay engaged with art-lovers no longer able to visit our galleries, we were unsure of the response. But the feedback we received was heartening, and it was backed by commensurate sales to prove that the art-loving fraternity supported the initiative and gave it a resounding thumbs-up. J. Sultan Ali Altaf Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Anonymous (Portraiture) K. H. Ara Prabhakar Barwe Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Sakti Burman Avinash Chandra Jogen Chowdhury Sunil Das Prodosh Das Gupta Shanti Dave Rajendra Dhawan M. V. Dhurandhar K. Laxma Goud Satish Gujral Zarina Hashmi K. K. Hebbar M. F. Husain George Keyt Krishen Khanna K. S. Kulkarni Ram Kumar Rabin Mondal S. Nandagopal Laxman Pai Gogi Saroj Pal Madhvi Parekh Jeram Patel Ganesh Pyne Sohan Qadri A. A. Raiba S. H. Raza P. T. Reddy Rekha Rodwittiya Jamini Roy G. R. Santosh Paritosh Sen F. N. Souza Anupam Sud Ramgopal Vijaivargiya

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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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