Search results for: 'PORTRAIT OF h.h. man singh'

Given Singapore’s sizeable Indian population and its position as a leading financial centre, DAG’s debut at Art Stage Singapore was an obvious corollary. Indian artists are avidly collected in this city-state but DAG’s attempt, as always, was to introduce the masters to visitors at the fair. While keeping in mind the best modernists, it also curated a selection most likely to appeal to Eastern sensibilities—thereby displaying its range and the diversity of Indian art. Akbar Padamsee Ambadas Avinash Chandra B. Prabha Bikash Bhattacharjee Dhanraj Bhagat F. N. Souza G. R. Santosh Gogi Saroj Pal Himmat Shah J. Sultan Ali Jeram Patel K. H. Ara K. K. Hebbar Laxman Pai M. F. Husain N. S. Bendre P. T. Reddy Paramjit Singh Prokash Karmakar Rabin Mondal Ram Kumar S. Dhanapal S. H. Raza Sakti Burman Sohan Qadri Sunil Das

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Eric Bowen was born in Allahabad on 3 May 1929 and received a diploma from the College of Art, New Delhi, in 1959. Though he joined the short-lived Group 1890, his journey to be a part of the significant art movements in the 1960s took root when he and Paramjit Singh started the Group Unknown, a Delhi-based collective of young artists and sculptors. Learn More

Maiya and Musui—the thinly-fluted male and female bronze figures, often swaying or leaping in joy—are perhaps as well-known as their creator, K. S. Radhakrishnan. One of the most significant contemporary sculptors, Radhakrishnan often refers to the bronze characters as his alter egos. Learn More

The contribution of the first renaissance capital of the country—Bengal—to Indian art and its development is longstanding, enormous and continued. As one of the largest repositories of Bengal art of the past two centuries, DAG is extremely pleased to announce its major exhibition. 19th Century Popular Paintings 19th Century Popular Prints Abani Sen Abanindranath Tagore Ajit Gupta Amalnath Chakladhar Amitabha Banerji Annada Prasad Bagchi Arun Bose Asit Haldar Atul Bose B C Law B. C. Sanyal Bampada Bandhopadhay Benjamin Hudson Benode Behari Mukherjee Bijan Choudhary Bikash Bhattacharjee Bipin Behari Goswami Biren De Bireswar Sen Biswanath Mukerji Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Das Sunil Bimal Dasgupta Dharamnarayan Dasgupta Dhiraj Chowdhury Dhirendra Deb Burman Dipen Bose Early Bengal Oil Artists Gaganendranath Tagore Ganesh Haloi Ganesh Pyne Gobardhan Ash Gopal Ghoshe Gopal Sanyal Haren Das Hemanta Misra Hemendranath Majumdar Heramba Kumar Ganguly Hirachand Dugar Hiranmoy Roychaudhuri Indra Dugar Isha Mahammad J. P. Gangooly Jamini Roy Jogen Chowdhury Jogesh Chander Seal K. G. Subramanyan Kalighat Patuas Kalikinkar Ghosh Dastidar Kalipada Ghoshal Kartick Chandra Pyne Khagen Roy Kishory Roy Kshitindranath Majumdar Lalit Mohan Sen Lalu Prasad Shaw M. A. R. Chughtai Maniklal Banerjee Manishi Dey Meera Mukherjee Mukul Dey Nabin Chandra Ghosh Nandalal Bose Nikhil Biswas Nirode Majumdar Olinto Ghilardi Paritosh Sen Partha Pratim Deb Prahlad Karmakar Prankrishna Pal Prodosh Das Gupta Prokash Karmakar Prosanto Roy Rabin Mondal Rabindranath Tagore Radhacharan Bagchi Ramananda Bandhopadhyay Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranada Charan Ukil – Ranada Prasad Gupta Rathin Maitra Sailendranath Dey Sailoz Mukherjea Sakti Burman Samarendranath Gupta Sanat Kar Sankho Chaudhuri Sarada Chandra Ukil Sarbari Roy Chowdhury Satish Chandra Sinha Shuvaprasanna Shyamal Dutta Ray Somnath Hore Sudhir Ranjan Khastgir Suhas Roy Sunayani Devi Sunil Madhav Sen Surendranath Ganguly Surendranath Kar Sushil Chandra Sen Zainul Abedin

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For the second year running at the India Art Fair, DAG built upon its theme with a second edition of ‘Masterpieces of Indian Modern Art’, on a scale as ambitious as the previous year. A portrait by Raja Ravi Varma was the highlight among the old masters, but a stunning painting by F. N. Souza—Man and Woman Laughing—stole the show. Once again, the lavish booth set new standards in terms of display, visitor experience, private lounges, and a souvenir and book store. Special lectures were organised at the booth, and a large number of walkthroughs were arranged for pre-booked groups. As in the previous edition, a large book was published on the displayed works, and a daily art newspaper was published for visitors to the fair. Avinash Chandra Nandalal Bose Chittaprosad F. N. Souza G. R. Santosh M. V. Dhurandhar J. Sultan Ali Jamini Roy K. H. Ara M. F. Husain Ram Kumar S. H. Raza Rabindranath Tagore

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Abalal Rahiman was born in Kolhapur, Maharashtra, as Abdul Aziz in a family traditionally involved in making artistic manuscripts of the Quran, and is best remembered for his academic-realist landscapes and portraits. Learn More

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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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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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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Prabhakar Barwe (1936-95) could well have ended up a theoretician whose book 'Kora Canvas' (Blank Canvas) was a manifesto that established the multi-dimensional relationship between an artist, the object on which he paints, and his subjects. That he was not just an intellectual scholar but an artist whose work speaks for him, is evident through a range of works in which Barwe dissects our understanding of the world and how we view it. Taking commonplace objects and our perception of their existence in the space they occupy, he shifts the dialogue to a point of discomfiture that makes us question our understanding of them. Using scale, discordant juxtapositions, and displacements, he reimagines the everyday in a manner that is thought-provoking, even provocative, as alternate realities—whether perceived or imagined.

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The series of aquatint prints known as Oriental Scenery represent the single largest and most impressive project by English artists to depict Indian architecture and landscape. Thomas Daniell (1749-1840) and his nephew William Daniell (1769-1837) travelled extensively in India between 1786 and 1793. On their return to Britain they produced many paintings, drawings and prints based on the sketches they had made while travelling. The aquatints were issued in pairs between March 1795 and December 1808. Subscribers who purchased all of them could assemble them into six volumes, each with 24 prints, making up a total of 144 – of which half are shown here.

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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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