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Born to a family of artists in Kolhapur, Maharashtra, on 3 June 1890, Baburao Painter was a self-taught artist who excelled in both oil painting and sculpture. His skill in painting earned him the nickname ‘Painter’. His excellence in traditional sculpture is evident in the large statue he made of Mahatma Gandhi, installed in Kolhapur. Learn More

What wonder it must have been for the people in England to ‘see’ India for the first time, the exotica that they had only heard of until then! The artists who made this possible through their paintings and aquatints were the uncle-nephew duo of Thomas Daniell and William Daniell, whose magnum opus, Oriental Scenery, was the subject of this landmark exhibition at Drishyakala, a joint collaboration between DAG and the Archaeological Survey of India.

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A creative enquiry tool that explores the events leading up to and during the revolt of 1857.

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The idea of primitivism centres on the wish to identify with, or respond to, elements of a society that are deemed ‘primitive’. In artistic terms, it is about rejecting realism, simplifying technique and reducing the formal means of expression to a ‘primitive’ state. The term itself is borrowed from discussions of Western art, where high-profile examples include the images of Tahiti and its people made in the 1890s by Paul Gauguin, and responses to African sculpture by Pablo Picasso in 1906-09. The second thread of primitivism—the reduction of formal means—is best exemplified by the ‘cut-outs’ made by Henri Matisse in the 1940s.

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Landscape art arrived in India through travelling European artists who brought the aesthetic of painting mountains, rivers and trees against the sky and a distant horizon—nature as a subject in itself —to Indian art, where it had traditionally only formed a backdrop in narrative-driven, figural paintings. The genre remained popular throughout the nineteenth century with a great demand for landscapes of India both in Europe and among the newly anglicised elite in India. Its popularity began to wane with the advent of modernism and a growing emphasis on the human figure, but several Indian artists, a significant name among them Gopal Ghose, continued to practice the form, now absorbing a wide range of new artistic trends and influences. A.A. Almelkar Abanindranath Tagore Ambika Dhurandhar Amitava Anonymous (Company School) Anonymous (Early Bengal) Atul Bose Avinash Chandra B. C. Gue B. N. Arya Bhupen Khakhar Bijan Choudhary Bikash Bhattcharjee Bimal Dasgupta Bireswar Sen Bishnupada Roychowdhury Chittaprosad D. C. Joglekar D. J. Joshi Devraj Dakoji Devyani Krishna Dharamnarayan Dasgupta Dulal Gue E. A. Dadi Edward Cheney F. N. Souza G. R. Santosh G. S. Haldankar Ganesh Haloi Gobardhan Ash Gopal Ghose H. A. Gade Haren Das Hirachand Dugar Indra Dugar J. P. Gangooly Jamini Roy John Deschamps Jyoti Bhatt K H. Ara K. C. S. Panicker K. K. Hebba K. Laxma Gou K. S. Kulkarni Kanwal Krishna Kisory Roy Kripal Singh Shekhawat L. N. Taskar L. P. Shaw Lalit Mohan Sen Laxman Pai M. F. Husain M. V. Dhurandhar Manishi Dey Mukul Dey N. R. Sardesai N. S. Bendre Nandalal Bose Nikhil Biswas Olinto Ghilardi P. Khemraj Paramjit Singh Pestonji E. Bomanji Prokash Karmakar Prosanto Roy Radha Charan Bagchi Raja Ravi Varma Ram Kumar Ramendranath Chakravorty Ramkinkar Baij Ranen Ayan Dutta Richard Barron Robert Grindlay S. G. Thakur Singh S. K. Bakre S. L. Haldankar Satish Sinha Sudhir Khastgir Sunil Das Thomas Daniell William Carpenter William Hodges

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A journey through the decades post the 1950s in Pakistan with art historian Simone Wille, from the University of Innsbruck, exploring the works of pioneering artists who looked to history and tradition to develop new visual languages, while also creating dialogues globally through travel. 

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An experiential learning and apprenticeship programme for high school students in collaboration with arts education organisations, offering them a first-hand experience of working in a museum, learning about the art and history, and translating their learnings to develop museum experiences for their peers.

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A visit to an antique furniture warehouse and the former home of historian Sir Jadunath Sarkar with Professor Rosinka Chaudhuri, as we trace the Swadeshi influence on our living spaces, and the transformation of furniture design.

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A visit to Taherpur, Nadia for a workshop on the practices and genealogies of Sora-making with artists Ratan Paul and Gopal Paul, and artist-writer Dipankar Parui. 

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