Search results for: 'DAIRE - Can't Mistake It'

Calcutta, flourishing with commerce and maritime trade during the nineteenth century, was regarded as the ‘second city’ of the British Empire. People thronged there in large numbers to make a livelihood, or in holy pilgrimage, seeking blessings at the Kali temple at Kalighat that had been re-built in 1809. Annada Prasad Bagchi Bamapada Banerjee B. C. Law C. W. Lawrie Kshetradas Chitrakar Panchanan Karmakar Madhav Chandra Das Ramadhan Swarnakar Ganganarayan Ghosh Nritya Lal Datta Press Kristohurry Das Chorebagan Art Studio Kansaripara Art Studio Calcutta Jubilee Art Studio Bat-tala

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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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Continuing its theme of introducing Indian abstractionists at Art Dubai, DAG handpicked works by eight eminent abstract artists and juxtaposed them to bring into focus how brushwork and colour are imbued with emotion and can compel viewers to spend hours studying such works. The artists presented by DAG at Art Dubai 2018—Ambadas, Sohan Qadri, Natvar Bhavsar, Avinash Chandra, Rajendra Dhawan, Shanti Dave, Ram Kumar and S. H. Raza—worked in different styles but their use of vivid colours highlighted this somewhat neglected genre of art in India that has begun to enjoy a premium in recent years. These artists had their studios in different parts of the world—Copenhagen, Oslo, New York, Paris, London, New Delhi—but had one thing in common: they were all of Indian origin and had trained and begun their careers in India. AMBADAS SOHAN QADRI NATVAR BHAVSAR AVINASH CHANDRA SHANTI DAVE G. R. SANTOSH J. SWAMINATHAN RAM KUMAR JERAM PATEL RAJENDRA DHAWAN K. V. HARIDASAN

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As in previous editions, ‘Iconic Masterpieces’ allows viewers to experience the pinnacles of Indian art through its lens of quality, historicity, and rarity—to which the element of surprise adds an unexpected piquancy. An ‘Iconic’ exhibition from DAG is like a museum tour where the best Indian art can be enjoyed through a lively and perceptive curatorial eye that acknowledges and helps extend our knowledge of it.

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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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Twenty-five years is not a long time in the life of an institution, especially when its scope of work is as overarching as DAG’s is. This short video encapsulates the gallery’s monumental journey undertaken on its silver anniversary, providing a snapshot of the prodigious work it has undertaken in such a short span of time. Learn More

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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The city was consolidated over the course of the eighteenth century, and its access to global trade routes helped it grow over the following centuries as well, leading some to describe it as the 'door of the East with its Face to the West'. How did European artists view this growing city?

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Tipu Sultan’s historical legacy has led to several conversations, among which its visual inheritance has provided room for debate on its particularly skewed European view. Catch our guest speaker William Dalrymple’s reflections on this subject.

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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DAG invited leading historians of Delhi, Swapna Liddle and Rana Safvi, to explore our archives collection. The items they found there include numerous photographs of the three durbars, taken by prominent photographers of the day. They also include many other objects relating to the durbars, from portraits and medals, to maps and official guidebooks, and to tickets and programmes. Historians in the past have analysed the ideology of the Delhi durbars, but never before has such a collection of the material culture of these events been brought together for display.

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The twentieth century was marked by two important decades—the 1910s, when the Bengal School saw the establishment of a revivalist practice that came to signify Indian modern art in general; and the 1950s, when a newly independent nation put its colonised past behind it and embraced a triumphant modernism. A. A. RAIBA ADI DAVIERWALLA AVINASH CHANDRA BABURAO SADWELKAR BADRI NARAYAN BIREN DE CHITTAPROSAD D. P. ROY CHOWDHURY DEVYANI KRISHNA DHANRAJ BHAGAT G. R. SANTOSH GANESH PYNE HAREN DAS Indra Dugar J. SULTAN ALI JYOTI BHATT K C S PANIKER K S Kulkarni K. G. SUBRAMANYAN K. K. HEBBAR KANWAL KRISHNA KISORY ROY KRISHEN KHANNA KRISHNA REDDY Laxman Pai M. F. HUSAIN MOHAN SAMANT NANDALAL BOSE NIKHIL BISWAS P. T. REDDY PARITOSH SEN S. H. RAZA S. K. BAKRE SAKTI BURMAN SHANTI DAVE SUNIL DAS SUNIL MADHAV SEN VISHWANATH NAGESHKAR

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