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The exhibition brings together important works of art spanning a wide range of genres, forms, periods and styles. They are grouped by genre and each thematic arrangement features a select collection of artworks that are milestones in Indian modernism, as well as in the development of the artistic language of several of the participating artists. A. A. Raiba Abalall Rahiman Akbar Padamsee Ambadas Amitava Avinash Chandra B. C. Sanyal B. N. Arya Baburao Painter Benode Behari Mukherjee Bikash Bhattacharjee Bipin Behari Goswami Biren De Chittaprosad Devyani Krishna Dharamnarayan Dasgupta Early Bengal (Anonymous) F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose H. A. Gade Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gangooly J. Sultan Ali Jamini Roy Jeram Patel K. H. Ara K. K. Hebbar K. Laxma Goud Kshitindranath Majumdar Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Manu Parekh Mohan Samant N. R. Sardesai Nandalal Bose Nikhil Biswas P. Khemraj P. S. Chander Sheker P. T. Reddy P. V. Janakiram Paritosh Sen Pestonji E. Bomanji Prabhakar Barwe Prodosh Das Gupta Prokash Karmakar Rabin Mondal Rabindranath Tagore Radha Charan Bagchi Ram Kumar Ravi Varma School (Anonymous) S. Dhanapal S. G. Thakur Singh S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shiavax Chavda Shyamal Dutta Ray Sohan Qadri Sunil Das Surendran Nair Tyeb Mehta V. Nageshkar Vivan Sundaram

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The exhibition brings together important and unusual works of art that span a wide range of genres, forms, periods and styles. They are grouped by genre, of abstract art, figurative art, landscape art, portraiture and still-life. Each thematic arrangement features a select collection of artworks from the artist’s mature period, several of which are of substantial art historical significance. Ambadas S. K. Bakre Avinash Chandra V. S. Gaitonde Ganesh Haloi Hemanta Misra Jeram Patel Sohan Qadri S. H. Raza Krishna Reddy G. R. Santosh Laxman Shreshtha Figurative J. Sultan Ali A. A. Almelkar Amitava Radha Charan Bagchi Bikash Bhattacharjee Nikhil Biswas Sakti Burman Chittaprosad Bijan Choudhary Prodosh Das Gupta Dharamnarayan Dasgupta Biren De S. Dhanpal M. V. Dhurandhar Shyamal Dutta Ray Early Bengal (Anonymous) K. Laxma Goud Satish Gujral M. F. Husain Kalighat Pat (Anonymous) Prokash Karmakar George Keyt Krishen Khanna P. Khemraj K. S. Kulkarni Ram Kumar Kshitindranath Majumdar Tyeb Mehta Anjolie Ela Menon Rabin Mondal M. Reddappa Naidu Badri Narayan Navjot Laxman Pai Gogi Saroj Pal Gieve Patel Ganesh Pyne Ravi Varma School (Anonymous) P. T. Reddy Jamini Roy Paritosh Sen Sunil Madhav Sen B. Vithal Landscape Akbar Padamsee Kisory Roy F. N. Souza J. Swaminathan Portraits Anonymous Jyoti Bhatt Sankho Chaudhuri Jogen Chowdhury Sunil Das Olinto Ghilardi Surendran Nair M. F. Pithawalla A. A. Raiba Himmat Shah Rabindranath Tagore Still-life K. H. Ara K. K. Hebbar B. Prabha Jehangir Sabavala S. G. Thakur singh

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Henry Singleton’s The Last Effort and Fall of Tippoo Sultaun belongs to a genre known as history painting: the depiction of important historical events, usually on a large scale, as if they were playing out in front of one’s eyes. Author and parliamentarian Shashi Tharoor and art historian Giles Tillotson explain the lively imagination deployed in Singleton’s painting that depicts the British assault on Seringapatam and the killing of its ruler, Tipu Sultan—himself the source of so many stories that it was difficult to unravel the truth from the many falsities spun by the biased colonial administration and historians of the time.

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Samuel Bourne (1834—1912) was a British photographer known for his prolific seven years' work in India, from 1863 to 1870. Landing first at Madras, then Calcutta, he travelled across the subcontinent—leading some of the earliest photographic trips to the Himalayas—and wrote about his first impressions of the places he visited.

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Artists have often formulated their theories and observations to analyse and become aware of the cognitive modes of art making, and to associate with broader contemporaneous art movements. These manifestos become a window into an artist’s process. Prabhakar Barwe’s seminal treatise, <i>Kora Canvas</I> (The Blank Canvas, 1989), exemplifies his deep understanding of the fundamental elements of art and keen observations of nature and his surroundings.

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A well-known poet and essayist, Prayag Shukla is also one the foremost writers on art in Hindi. He has authored monographs on artists like J. Swaminathan, M. F. Husain and Ambadas, expanding upon these artists’ relationships with local institutions and contexts of art-making in India since the 1960s.

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What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What wonder it must have been for the people in England to ‘see’ India for the first time, the exotica that they had only heard of until then! The artists who made this possible through their paintings and aquatints were the uncle-nephew duo of Thomas Daniell and William Daniell, whose magnum opus, Oriental Scenery, was the subject of this landmark exhibition at Drishyakala, a joint collaboration between DAG and the Archaeological Survey of India.

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