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‘Iconic Masterpieces of Indian Modern Art, Edition 2’ opened on 11 February at DAG’s Janpath Gallery in New Delhi featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Giles Tillotson speaks on the Dutch Orientalist Marius Bower’s painting ‘Witte Pauw’ where he tries to evoke the sense of a Rajput court through motifs like peacock feathers, along with adding an element of fantasy. Learn More

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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That Anupam Sud is one of the most prominent printmakers in the country is a given, even though it would be unfair to limit so versatile an artist to only being a printmaker. Indeed, her body of work includes paintings, drawings, sculpture, bookmaking—and as you will see through the pages of the book accompanying the exhibition, a record-keeper observing the passage of time with self-portraits that she has undertaken to make periodically. A role-model for generations of artists and printmakers through her work and for her influence as a teacher at the prestigious College of Art, New Delhi, Anupam Sud’s name evokes recognition around the world where she has admirers, collectors of her work, and students who have trained under her.

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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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By the end of the century, however, the scene was changing, and infrastructure—following the economic reforms in 1991—began to improve, creating an interest in collecting art. Twentieth century Indian modern art has since been at the forefront of collecting and investing in Indian art, and DAG, which has the largest private collection of Indian art has a marked focus on this period of Indian art. Ambadas F. N. Souza G. R. Santosh George Keyt Jamini Roy K. K. Hebbar Kanwal Krishna Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Nandalal Bose Nemai Ghosh Prokash Karmakar Rabin Mondal

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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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Born in Nashik, Maharashtra, M. S. Joshi studied at Sir J. J. School of Art, Bombay, in the 1930s. Joshi combined his training in academic realism with a sense of vitality, precision and aesthetics to reveal India’s rich cityscapes and landscapes in his watercolour and gouache works. There was immense depth in the rendering of his subjects, which included people, places, architectural elements, all done in a subdued yet textured palette. Learn More

From 1797, when British artist Thomas Daniell painted his masterly landscape of Mahabalipuram, to 2003, the year Rameshwar Broota's painting pitching man against metal resulted in a powerful image, the Indian art world has seen a succession of artists and movements that have enriched its vocabulary in more ways than one. Thomas Daniell Sita Ram Early Bengal School Raja Ravi Varma Edwin Lord Weeks Marius Bauer Ustad Allah Bakhsh Studio of Bourne & Shepherd M. V. Dhurandhar Hemendranath Mazumdar M. A. R. Chughtai Nandalal Bose Jamini Roy Laxman Pai J. Swaminathan Francis Newton Souza J. Sultan Ali Rabin Mondal S. H. Raza K. K. Hebbar Akbar Padamsee Tyeb Mehta K. H. Ara S. K. Bakre Bireswar Sen Nirode Mazumdar Shanti Dave Gulam Rasool Santosh Madhvi Parekh Satish Gujral Bikash Bhattacharjee Maqbool Fida Husain Meera Mukherjee Rameshwar Broota

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An extraordinary exhibition of paintings, prints, maps and other objects, curated by Giles Tillotson, that recounts a visual history of the Mysore Wars between the East India Company and Tipu Sultan, this DAG exhibition explores how the narrative might have changed 222 years after the siege of Seringapatnam. The images, based on the British view of the time, reflect changing perceptions and Indian views on this epic battle and its political and social fallouts. A highlight of the exhibition is a painting by Henry Singleton depicting The Last Effort and Fall of Tippoo Sultaun, among other stellar works, that will be seen in India for the first time. Alexander Allan Cpt. R. Frazer David Wilkie Edward Orme Henry Singleton J. B. Mauzaisse James Hunter Johann Peter Krafft John Smart Mather Brown Obadiah Sherratt Robert Hyde Colebrooke Robert Home Robert Ker Porter Thomas Stothard

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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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Do we view things differently as we grow older? What are the perspectives that matter most when viewing art? Do we see things differently as men and women? Do we see art differently as men and women? How does one’s gender impact the creation of art? In the months leading up to ‘Ways of Seeing’, these were some of the questions we posed to ourselves, and we wish we could say that we found a generic, universal response, for there are as many standpoints and views as there are viewers and people. Amrita Sher-Gil Anjolie Ela Menon Anupam Sud Arpana Caur B. Prabha Devayani Krishna Elizabeth Brunner Gogi Saroj Pal Jaya Ganguly Kanchan Chander Kavita Nayar Latika Katt Madhvi Parekh Mrinalini Mukherjee Nalini Malani Navjot Nilima Sheikh Rekha Rodwittiya Shobha Broota Sunayani Devi Vasundhara Tewari Broota Zarina Hashmi Akbar Padamsee Avinash Chandra B. C. Sanyal Baburao Painter Bikash Bhattacharjee D. P. Roy Chowdhury Dharamanarayan Dasgupta Dhruva Mistry F. N. Souza G. R. Santosh Ganesh Pyne George Keyt Haren Das Jagadish Dey Jamini Roy Jogen Chowdhury Jyoti Bhatt K. H. Ara K. S. Kulkarni Khagen Roy Krishen Khanna M. F. Husain M. Suriyamoorthy M. V. Dhurandhar Nandalal Bose P. T. Reddy Prokash Karmakar Sakti Burman Satish Sinha Sudhir Khastgir Sunil Das V. Nageshkar

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Among all attempts by foreign artists to present a complete view of India, none is so focused on people as the work of François Baltazard Solvyns, who lived in Calcutta for a decade starting in 1791. While picking up odd jobs, he embarked on an ambitious project to produce a comprehensive survey of ‘the manners, customs, and dresses, of the Hindus’. The first edition contained 250 hand-coloured etchings and was published by Solvyns between 1796 and 1799.

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