Search results for: 'dragoness takes human children into her womb deviantart story'

'Home is a Place’ explores the visual world of the home as a physical space having both an exterior and an interior—with all its magic, hope and memories—in villages and towns. Our homes are central to our existence and society, being the reason for shaping towns and countries, civilisations and histories. The exhibition covers the complexity of lives within the jurisdiction of the home—women at their toilettes, women painted alone gazing out of the window or gossiping in a group; figures working in their library, engaged in household work, or as parents bathing children; a family posing together or feuding over a game of cards, food or egos; and those fighting tyranny or painted as embracing lovers. Altaf Ambika Dhurandhar Amit Ambalal Anonymous Anonymous (Kalighat Pat) Anonymous (Waring & Gillow) Avinash Chandra Badri Narayan Bijan Choudhary Chakravorty Chittaprosad Dattatraya Apte Dhanraj Bhagat G. R. Santosh Ganesh Pyne Gogi Saroj Pal Gopal Ghose Haren Das Hemen Mazumdar Hiranmoy Indra Dugar Indu Rakshit Jagadish Dey Jagmohan Chopra Jamini Roy Jyoti Bhatt K. C. S. Paniker K. S. Kulkarni Kisory Roy M. A. R. Chughtai M. Bulkley M. F. Husain M. V. Dhurandhar Madhvi Parekh Maniklal Banerjee N. R. Sardesai Nandalal Bose Navjot Nemai Ghosh P. T. Reddy Partha Pratim Deb Piraji Sagara Prabhakar Barwe R. B. Bhaskaran Rabin Mondal Radha Charan Bagchi Ramendranath Rekha Rodwittiya Roychaudhuri S S. K. Bakre Sadequain Sakti Burman Sanat Kar Shanti Dave Shyamal Dutta Ray Somnath Hore Subba Ghosh V. A. Mali V. Nageshkar Ved Nayar Abani Sen Paritosh Sen Sunil Madhav Sen Sushil Chandra Sen Nataraj Sharma Shuvaprasanna Muni Singh Paramjeet Singh Paramjit Singh S. G. Thakar Singh Sobha Singh Satish Sinha F. N. Souza K. G. Subramanyan Anupam Sud L. N. Taskar Vasudha Thozhur

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One of India’s most important artists, Chittaprosad recorded pivotal political and social movements in the country, such as the Great Bengal Famine of 1943-44 and its fallout, in heart-wrenching sketches and drawings, alongside protests against colonialism, economic exploitation, urban poverty and depravity, just as beautifully as the many drawings, linocuts and scraper board illustrations he made for children, recording a beatific phase of plenitude and family values, and involving himself with marionettes for their entertainment.

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Born in Gujarat to a family of farmers, Nagji Patel grew up making clay toys as part of playing with village children. He joined the painting course at Faculty of Fine Arts, M. S. University, Baroda, but eventually switched to sculpture, which he found less daunting than painting. He obtained an M.F.A. in sculpture in 1964 and in the same year won a travelling scholarship from the Government of India, which allowed him to visit quarries across the country and interact with stone carvers. Learn More

Any new exhibition brings with it a frisson of excitement, but by any measure India Modern: Narratives From 20th Century Indian Art has been extra special. Most art lovers take Indian modernism for granted—but how many can truly claim to know what it really means. For too many years, the term has been loosely used, with very little awareness of what it includes, or omits. What the West understands and takes as a given is something that in India still remains a mystery, perhaps because art in India cannot strictly be viewed from the same trope as Western art. Perhaps this is true of most countries, but it is especially true of colonised nations where new engagements with art in the West were imposed without the benefit of growing their own local practices organically. This hybrid custom developed at various levels, which makes it exciting when viewed from some distance, but also imposes a challenge. Therefore the question: What does modernism in Indian art imply? Akbar Padamsee Ambadas Anjolie Ela Menon Avinash Chandra B. Prabha Bikash Bhattacharjee Bimal Dasgupta Biren De Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel H.A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jehangir Sabavala Jeram Patel Jogen Chowdhury K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Krishen Khanna Laxman Goud Laxman Pai M. F. Husain Manjit Bawa P. Khemraj P.T. Reddy Rabin Mondal Ram Kumar S. K. Bakre S.H. Raza Sakti Burman Sohan Qadri Somnath Hore Sunil Das

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Art Lab by DAG’s Museums Programme is a pop-up art exhibition of facsimiles of works from the DAG Museum Collection that travels to schools and introduces students to modes of visual learning. After two successful iterations in CBSE and ICSE schools in Kolkata, Art Lab travelled to its first Bengali medium West Bengal Board school—Barisha Janakalyan Vidyapith for Girls. Through three days of workshops spread across two weeks, the students interacted with the artworks, learnt the basics of research, delved into historical material, and developed their own creative projects. Take a peek at some of the wonderful projects they curated as they took over the exhibition and made it their own.

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Have you wondered how people looked at paintings and photographs in the nineteenth century? For DAG’s annual Heritage Festival ‘The City as a Museum’, we explored various aspects of the city’s visual culture. As we are about to launch the DAG Journal let us revisit the walk co-led by Sarbajit Mitra and Amreeta Das at the Uttarpara Jaykrishna public library to delve into the periodical archive and trace the evolution of printed pictures in India. Flipping through the pages of these periodicals offered glimpses into the everyday habits of consuming art—from simple wood-cut and lithograph illustrations, to full plate colour reproductions of paintings and photographs, artist albums, and exquisitely ornate typography.

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In February, Paris' Centre Pompidou--a premier centre for modern art since its construction in 1977--mounted an extensive solo show looking back at S. H. Raza’s career in painting. It represents a historic moment for Indian modern art’s international story as it unfolded over the twentieth century, and also marked Raza's own symbolic return to the place where he stayed for most of his working life. The fertile post-independent period saw cross-cultural connections being forged by Indian artists in Europe and America on their own terms and this show is a testament to Raza’s evolving encounters with land and mythology. The curators, Catherine David and Diane Toubert, spoke to DAG highlighting some of the takeaways from this major retrospective.

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Radha is painted as a queen in this Early Bengal oil painting, surrounded by her fellow Gopis (cowherds and companions) and Krishna—her divine consort and an incarnation of one of the Hindu trinity—dressed as a sentinel. She sits on her royal throne amid a forest landscape, perhaps recalling her identification as Vrindavaneshwari (goddess of Vrindavan). Going by the small but remarkable details of the jewellery, we can guess that it is the work of an artist trained in the miniature tradition. But does the painting hide other possible secrets?

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Gogi Saroj Pal, seen often as one of the first ‘feminist’ women painters in modern Indian art, has consistently explored the condition and inner life of women. Women’s lives, their desires and compulsions, and the complex and magical world of the feminine have been Gogi’s frequent subjects. In her work, Gogi explores and responds to the vast reserve of myths, fables and lore that abound in India, interested in excavating, in particular, its religious and literary traditions. She traces and frequently creates new mythical/celestial female beings of great strength and potency, such as the Hathyogini-Kali—skilled yoga practitioner and potent female force—who assert themselves in a modern landscape where women are frequently denied agency.

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Zarina Hashmi née Rasheed (she dropped her surname in later life) was born on 16 July 1937 in Aligarh to Sheikh Abdur Rasheed, a professor of history at the Aligarh Muslim University (AMU). She was ten at the time of the Partition and the consequent events impacted her life and her art forever, especially since her family chose to migrate to Pakistan some years later. Learn More

Recognised for her contributions to the growth of printmaking in India, Anupam Sud is considered one of the most significant artists of India. Her works depict strong anatomical beings that can be traced back to her father’s love for bodybuilding. She attributes her influences to theatre, classical music, and detective stories, and artistic growth to renowned artist Somnath Hore, with whom she formed a close association. Learn More