Search results for: 'krishna and the'

Indian art defies any easily tailored silos to carve for itself a confident assertion of its own identity within a global context, while being a part of its larger assimilative journey. it is this rich legacy of Indian modernism that we hope to explore with The Centum Series which opens a window to the tantalising glimpse of the extraoridnary depth and breadth of its scope and variety. Round numbers are attractive, so we picked one hundred as our choice for this medley of artists and artworks that offers you a unique opportunity to acquire Indian modern art at attractive prices specially tailored for this sale. J. Sultan Ali Altaf Ambadas Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Dattatraya Apte B. N. Arya Radha Charan Bagchi Ramkinkar Baij S. K. Bakre Maniklal Banerjee Ananda Moy Banerji Prabhakar Barwe R. B. Bhaskaran Jyoti Bhatt Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Vasundhara Tewari Broota Sakti Burman Ramendranath Chakravorty Kanchan Chander Avinash Chandra Sankho Chaudhuri Chittaprosad Jagmohan Chopra Jogen Chowdhury M. A. R. Chughtai Thomas Daniell Arup Das Prodosh Das Gupta Haren Das Sunil Das Bimal Dasgupta Shanti Dave Partha Pratim Deb Jagadish Dey Mukul Dey Rajendra Dhawan Indra Dugar Gopal Ghose Nemai Ghosh Subba Ghosh Bipin Behari Goswami K. Laxma Goud Satish Gujral Ajit Gupta S. L. Haldankar Somnath Hore M. F. Husain Prokash Karmakar Sudhir Khastgir P. Khemraj Bose Krishnamachari K. S. Kulkarni Ram Kumar Walter Langhammer Pradip Maitra Hemanta Misra Dhruva Mistry Rabin Mondal A. H. Müller L. Munuswamy V. Nageshkar Reddeppa Naidu S. Nandagopal Ved Nayar Akbar Padamsee Laxman Pai Gogi Saroj Pal Rm. Palaniappan M. K. Parandekar Madhvi Parekh Manu Parekh R. N. Pasricha Ganesh Pyne Sohan Qadri K. S. Radhakrishnan A. A. Raiba Krishna Reddy P. T. Reddy Rekha Rodwittiya Jamini Roy Prosanto Roy G. R. Santosh Paritosh Sen Nataraj Sharma Lalu Prasad Shaw Shuvaprasanna Paramjeet Singh F. N. Souza Anupam Sud Thota Vaikuntam S. G. Vasudev Jai Zharotia Moti Zharotia

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'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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India Art Fair is South Asia’s largest platform for showcasing the best of modern and contemporary art from around the world, and DAG’s booth is the most looked forward to by connoisseurs of Indian art in India and overseas. They were not disappointed at this iteration of the fair where its lavish booth was set up to resemble public rooms in a large mansion with teak-panelled walls, pillars, portrait galleries, a private lounge, a media room for interviewing artists and important visitors that was streamed live, and special provisions for curated walks. It also published a daily art newspaper for the duration of the fair for distribution to all visitors. A large book accompanied the display at the booth. K. K. HEBBAR RABIN MONDAL HIMMAT SHAH SAILOZ MOOKHERJEA J. SULTAN ALI AMBADAS K. H. ARA RAMKINKAR BAIJ S. K. BAKRE PRABHAKAR BARWE DHANRAJ BHAGAT BIKASH BHATTACHARJEE NIKHIL BISWAS PESTONJI E BOMANJI NANDALAL BOSE AVINASH CHANDRA CHITTAPROSAD D. P. ROY CHOWDHURY SHANTI DAVE ADI DAVIERWALLA BIREN DE G. R. SANTOSH PARITOSH SEN HENRY SINGLETON M. F. HUSAIN FN SOUZA KALIGHAT J. SWAMINATHAN RABINDRANATH TAGORE L. N. TASKAR KRISHEN KHANNA RAMGOPAL VIJAIVARGIYA RAM KUMAR JEHANGIR SABAVALA HIMMAT SHAH EARLY BENGAL OIL H. A. GADE MOHAN SAMANT S H RAZA JAMINI ROY GEORGE KEYT B PRABHA PROKASH KARMAKAR K LAXMA GOUD RANBIR KALEKA P. KHEMRAJ DEVYANI KRISHNA VED NAYAR K C S PANIKER GIEVE PATEL PORTRAIT A. RAMACHANDRAN PROSANTO ROY V. VISWANADHAN RAM KUMAR RAVINDER REDDY

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In the articulation of twentieth century art, where does one place Altaf Mohamedi? That question has probably troubled more curators than we realise. Altaf, who studied art in London before returning to Bombay (now Mumbai) was following in the footsteps of his elder sister and artist Nasreen Mohamedi, but that is where all similarities ended. Where Nasreen was an abstract, sparse artist who created a distinctive language using, for most part, rigid, inflexible lines that nevertheless sang on the paper over which they were made, Altaf’s work was intensely political and social.

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Co-founder of the Kochi-Muziris Biennale, Bose Krishnamachari was born in Magattukara village, Kerala, and came into prominence in the 1990s, after graduating from Sir J. J. School of Art, Mumbai, at a time when India was experiencing economic liberalisation. Learn More

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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This exhibition looks at the diverse range, moods and styles that primitivism has taken in India, some artists practicing entirely in that style, while others experimenting with it in part, or sporadically. One can count simplicity and a move away from sophistication as key components, as also an inclination or at least a nod towards the folk. The exhibition does not attempt to be a comprehensive survey of India’s primitivists—there are others who would bear inclusion—but is an attempt to understand a body of work and how, given its Western countenance, it can be understood in the Indian context. More than anything else, it offers a clearer view than in the past of what primitivism might mean in the context of modern Indian art. Amrita Sher-Gil F. N. Souza George Keyt Himmat Shah J. Sultan Ali Jamini Roy Jogen Chowdhury K. G. Subramanyan K. S. Kulkarni M. F. Husain Madhvi Parekh Mohan Samant Rabin Mondal Rabindranath Tagore Ramkinkar Baij Sunayani Devi

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Stepping up its efforts to familiarise viewers with the extensive range of Indian modern art, DAG occupied an extensive booth at the India Art Fair 2014, where over 300 paintings and sculptures were displayed, featuring about 125 artists. The specially designed booth was the centre of attraction at the fair and the most prominent destination for art lovers wanting to understand the development of Indian art from the point of its history, chronology, movements, periods, regions, or genres. It was an art history lesson brought to life and was thronged by visitors. Special talks were organised at the booth. A 332-page catalogue was specially published for the fair and remains a compendium of India’s greatest artists ever. A. A. Almelkar A. A. Raiba A. D. Tavaria A. M. Davierwalla Abalall Rahiman Abanindranath Tagore Akbar Padamsee Altaf Amalnath Chakladhar Ambadas Amitava Aroomoogam Pillay Arpana Caur Avinash Chandra B. C. Law B. Prabha Badri Nath Arya Bal Chhabda Benjamin Hudson Benode Behari Mukherjee Bhupen Khakkar Bijan Choudhary Bikash Bhattacharjee Bimal Dasgupta Bipin Behari Goswami Biren De Bireswar Sen Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Dharamanarayan Dasgupta Early Bengal Oil (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Haren Das Hemanta Misra Hemendranath Majumdar Henry Singleton Himmat Shah Indra Dugar J. Sultan Ali J. Swaminthan Jacob Epstein Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kalighat Pat Kanwal Krishna Khagen Roy Kisory Roy Krishen Khanna Kshitindranath Majumdar L. Munuswamy L. N. Taskar L. P. Shaw Laxman Pai M. A. R. Chughtai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manjit Bawa Manu Parekh Meera Mukherjee Mohan Samant N. R. Sardesai N. S. Bendre Nandalal Bose Nemai Ghosh Nikhil Biswas P. Chander Sheker P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Portrait (Anonymous) Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Raghav Kaneria Raja Ravi Varma Ram Kumar Ramendranath Chakravorty Rameshwar Broota Ramkinkar Baij Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. L. Haldankar S.K. Bakre Sailoz Mukherjea Sankho Choudhuri Satish Gujral Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Somnath Hore Suhas Roy Sunil Das Sunil Madhav Sen Thomas Daniell Tyeb Mehta V. Nageshkar V. S. Gaitonde Ved Nayar

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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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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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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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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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