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Prabhakar Barwe’s Eighty-Five Safety Pins is a pioneering work that merges technology and traditional art. Created in 1991 using graphic design software on an Apple Macintosh, Barwe explored the concept of pixels, a hallmark of the digital era, while incorporating his signature enamel paint. This innovative approach reflects his curiosity about embracing the unknown future and reinterpreting it artistically. By abstracting the safety pin from its conventional form, Barwe invites viewers to reconsider its essence, offering an open-ended visual experience that challenges preconceived notions and encourages alternative perspectives. Art connoisseur Shireen Gandhy, a friend of the late artist, takes us behind the making of this extraordinary painting.

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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

Sohan Qadri was truly a global artist whose travels and practice spanned India, its Himalayan neighbours, Africa, Europe and Canada. His paintings can be summed up as yantras that serve as visual meditation tools. Invocation – 27 is a vibrant sea of yellow ochre with a band of blue in the middle. A captivating work, Geeti Sen explains, the painting serves to offer viewers a profound experience of transformation and self-discovery.

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Born in Maharashtra, B. Vithal took a diploma in sculptural art from Sir J. J. School of Art, Bombay. Taking to art with natural ease, he began drawing as early as five years of age, making Ganesha and other popular Hindu deities on his slate using chalk. The inspiration sustained through his entire life, and his work was mainly inspired by Hindu mythology, philosophy, and ancient Indian art.  Learn More

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Raja Ravi Varma’s singular impact on Indian art is unparalleled by any artist. Largely self-taught, he is probably the first Indian artist to have articulated Indian subject matters through naturalism and the use of oil paints with brilliant mastery, considered until then a European idiom. Learn More

The mid-twentieth century saw a churn in the practice of art in India with a number of artists beginning to explore a genre that had swept the West with its absence of figuration in favour of abstraction. The non-representational began to gain traction as artists found within it a way to express themselves purely through colour as a potent tool to communicate emotions. Abstraction emphasised the relationship between originality and expression in ways that were complex, leading one to debate about the eventual goal of art. Ambadas, Krishna Reddy, Sohan Qadri, Zarina Hashmi, Rajendra Dhawan

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2020 marks a special year in mankind’s history and India’s destiny. Often used in reference to development goals, 2020 has taught us to never take things for granted. While humanity has made major leaps, even conquering outer space, nature has shown us how little we know about it, and how little we appreciate what we have. 2020 has taught us to review our values. We have suffered but also been comforted, and we have learned to acknowledge that irrespective of our joys and sorrows, our triumphs and our failures, the world will not stop, it will go on. Husain Rabin Mondal Santosh Jehangir Sabavala Mohan Samant Swaminathan Paramjit Paramjeet Ramgopal Vijaivargiya Seal Singh Dasgupta Haren Das Shanti Dave Jagadish Dhanapal Dhurandhar Bipin Behari Goswami Laxma Goud George Keyt Ara Nandalal Bose Jyoti Bhatt Natvar Bhavsar Eric Bowen Shobha Broota Avinash Chandra Sanat Chatterjee Shiavax Chavda Hebbar Khemraj Krishen Khanna Walter Langhammer Jeram Patel Aroomogam Pillay Raza Reddy Jamini Roy Vasudev Viswanadhan Manu Madhvi Parekh Laxman Pai Dhirendra Narayan Dharamanarayan.

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William Hodges (1744-97) was a pioneer in more ways than one. He was the first British landscape painter to visit India, and to portray scenery across the whole breadth of the Gangetic plain. As a writer, he gave the first detailed descriptions of numerous historic Indian buildings, and he theorised about the origins and evolution of Indian architectural design. His art illustrates his exploration into terrain which—in its breadth and scope—was at the time almost as unfamiliar to Indian as to Western eyes.

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The term ‘abstract’ has been loosely used, more so in the Indian context, where we have only a vague notion of what it implies. Even the slightest distortion in art is popularly referred to as abstraction. And while distortion ultimately results in abstraction, the two are at opposing ends of the visual pole as far as understanding the genre goes. Over several years, viewers have been guided almost by a gut instinct of what constitutes abstract art. And though one concedes that rigid compartments to demarcate genres are neither practical, nor desirable, some understanding of what constitutes abstract art is essential. A. M. Davierwalla Akbar Padamsee Ambadas Amitava Amrut Patel Asit Kumar Haldar Avinash Chandra Baburao Sadwelkar Benode Behari Mukherjee Bikash Bhattacharjee Bimal Dasgupta Biren De Bishamber Khanna Biswanath Mukerji Devayani Krishna Devraj Dakoji Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi H. A. Gade Hemanta Misra Himmat Shah J. Swaminathan Jeram Patel Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. S. Kulkarni Krishna Reddy L. Munuswamy Laxman Pai Laxman Shrestha M. F. Husain Nasreen Mohamedi P.Khemraj P.T.Reddy Partha Pratim Deb Piloo Pochkhanawala Prabhakar Barwe Prabhakar Kolte Prokash Karmakar R. M. Palaniappan R. N. Pasricha Rabin Mondal Raghav Kaneria Ram Kumar S. G. Vasudev S. H. Raza S. K. Bakre S. R. Bhushan Sanat Kar Sankho Choudhuri Satish Gujral Shanti Dave Shobha Broota Sohan Qadri Somnath Hore Sunil Das Sunil Madhav Sen Tapan Ghosh V. S. Gaitonde V. Viswanadhan Vivan Sundaram Zarina Hashmi

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An experiential learning and apprenticeship programme for high school students in collaboration with arts education organisations, offering them a first-hand experience of working in a museum, learning about the art and history, and translating their learnings to develop museum experiences for their peers.

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An ‘India wanderer’, as he liked to call himself, Gopal Ghose spent his formative years away from Calcutta, where he was born on 5 December 1913. His art training began at the Maharaja School of Arts, Jaipur. From 1935-38, Ghose studied at the Government College of Art and Craft, Madras. Once, while painting on the Marina beach in Madras, he caught the attention of C. Rajagopalachari—statesman, activist, writer and leader of the Indian National Congress—who offered to arrange his further studies abroad, which the college authorities, however, did not permit. Learn More