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Forced to paint signboards at the age of eleven when his father died, Krishna Shamrao Kulkarni battled numerous early struggles to achieve a pre-eminent place in modern Indian art. Born in a village in Belgaum in Karnataka in 1916, Kulkarni engaged with modernist techniques and mediums to create a highly individuated pictorial language. Learn More

Born in Bombay, Jitish Kallat’s earliest memory of art was of helping his elder sister as a five-year-old for a drawing in her biology book. By the time he was in his mid-teens, he was, in his own words, ‘persistently and obsessively drawing’. Kallat secured a degree in fine arts in 1996 from Sir J. J. School of Art. An internationally acclaimed artist, his work includes painting, photography, collages, sculpture, installations, and multimedia. Learn More

A painter with a strikingly elegant bearing, Jehangir Sabavala was born on 23 August 1922 in an affluent Parsi family in Bombay and grew up in an intellectually charged environment. He studied at Elphinstone College, Bombay, before graduating from Sir J. J. School of Art in 1944. Thereafter, he studied at some of the leading art schools of Europe—The Heatherly School of Art, London (1945-47), Académie André Lhote, Paris (1948-51), Académie Julian, Paris (1953-54), and Académie de la Grande Chaumière, Paris (1957). Learn More

One of India’s most loved artists, Jamini Roy is remembered for forging a unique Indian aesthetic for modern art by bringing together elements of traditional Bengali folk art and Kalighat patachitras, rendered in clean lines and earthy colours. Learn More

Born in Jamalpur in present day Bangladesh on 9 February 1936, Ganesh Haloi migrated with his family to Calcutta upon Partition. From 1952-56, he studied at the city’s Government College of Arts and Crafts, where he acquired his personal style of sophisticated elegance and finish. Upon graduation, he joined the Archaeological Survey of India and was assigned the documentation of the cave paintings of Ajanta from 1957-63. Learn More

Born in Baroda, Altaf Mohamedi’s interest in painting began while at the Scindia School in Gwalior under the tutelage of his art instructor Niyogi. His nascent interest was also encouraged by his elder sister and noted painter Nasreen Mohamedi. Learn More

The art of the twentieth century may be too recent for us to judge it from the viewpoint of longevity, but if the past is any criterion, art is set to outlive us by far—a reason why its documentation is one of the more important tasks before us. This is where the Manifestations series is so important. It encourages discussion and debates around the selection of unique works by seventy-five acknowledged artists spanning a century (or more) of Indian modernism across a range of variously permutable combinations: periods, movements, mediums, materials, regions.  Raiba Ambadas Arpana Caur Arun Bose Asit Kumar Haldar Avinash Chandra Bal Chhabda Bikash Bhattacharjee Bimal Dasgupta Biren De Bireswar Sen C. Douglas Chittaprosad Devayani Krishna Dhanraj Bhagat Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Pyne Gogi Saroj Pal Himmat Shah Indra Dugar J. C. Seal J. Sultan Ali J. Swaminathan Gaganendranath Tagore Raja Ravi Varma Jamini Roy Jeram Patel Jyoti Bhatt K. Adimoolam K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. Laxma Goud K. S. Radhakrishnan Kalighat Pat (Anonymous) Khagen Roy Krishen Khanna L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain M. Senathipathi M. V. Dhurandhar N. S. Bendre Nandalal Bose Navjot Nemai Ghosh Nikhil Biswas P. Khemraj P. T. Reddy Paritosh Sen Partha Pratim Deb Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ranbir S. Kaleka Robert Ker Porter S. H. Raza Sakti Burman Satish Gujral Shanti Dave Shyamal Dutta Ray Gopal Ghose Sohan Qadri Sunil Das Sunil Madhav Sen Thota Vaikuntam Ved Nayar

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The Art of Santiniketan showcases the work of its four chief artists—Santiniketan’s founder, Rabindranath Tagore, its first principal and the architect of the Santiniketan pedagogy, Nandalal Bose, and his two illustrious students who went on to make a name for themselves as highly original and significant artists—Benode Behari Mukherjee and Ramkinkar Baij. Santiniketan was a path-breaking educational institution Rabindranath Tagore set up in rural Bengal in the early twentieth century, and the exhibition begins by examining its genesis in Tagore’s radical ideas of basing education in freedom and in the midst of nature. Benode Behari Mukherjee Nandalal Bose Rabindranath Tagore Ramkinkar Baij

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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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The Madras Art Movement that emerged in the early 1960s was a late phenomenon of modernity in south India within the national context. It developed as a regional phenomenon that began to take shape from the mid-1950s onwards as a search for authenticity in modernism derived largely from the region’s cultural heritage. D. P. ROY CHOWDHURY A P SANTHANARAJ ACHUTHAN KUDALLUR AKKITHAM NARAYANAN ALPHONSO DOSS C DOUGLAS C J ANTHONY DOSS J. SULTAN ALI K C S PANIKER K M ADIMOOLAM K RAMANUJAM K SREENIVASULU K V HARIDASAN L MUNUSWAMY M SENATHIPATI M SURYAMOORTHY P GOPINATH P PERUMAL P S NANDHAN PANEER SELVAM R B BHASKARAN REDDEPPA NAIDU Rm. PALANIAPPAN S G VASUDEV S. DHANAPAL S. NANDAGOPAL V. VISWANADHAN VIDYASHANKAR STHAPATI

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