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He was the colossus of the Indian art world whose reign over twentieth-century modern art remains unparalleled. M. F. Husain (1913-2011) was the face of Indian modernism and owned it completely. Having started out as a painter of billboards in Bombay, he became its unchallenged monarch as a member of the influential Progressive Artists’ Group in 1947. He claimed the first National Award instituted by the Lalit Kala Akademi in 1955, and went on to become India’s most celebrated artist. In a practice that spanned over seventy years, Husain was playful, experimental, provocative, controversial—but never mediocre.

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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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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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Often described as ‘Poetry in Stone’, the Taj Mahal was laid out between 1631-43 by Mughal Emperor Shah Jahan as a mausoleum for his wife Mumtaz Mahal. It is the architectural elements of the Taj complex that grab the most attention, but in fact the garden is the heart of the complex . The visitors today are so transfixed by the Taj itself that they remember very little of the garden. DAG Archive attempts to illustrate the  life and ‘afterlife’ of the Taj gardens, once its control was taken over by the British. This archive deep dive showcases the objects from A. E. P. Griessen’s (1875–1935) collection.

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Chittaprosad Bhattacharya (1913-1978) was a versatile artist and a lifelong adherent of the socialistic worldview. In 1943, he traveled across the famine-stricken villages of Bengal and produced realistic sketches of human suffering that were regularly published in the pages of the Communist Party journal 'People’s war'. These sketches were later compiled and published as a booklet under the title 'Hungry Bengal'. Fascinated by his artistic skills, the General Secretary of Communist Party of India, Puran Chand Joshi took Chittaprosad to the Party’s headquarters in Bombay (now Mumbai). 

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Rabin Mondal is like a striding colossus of our times, scorching up the firmament with images that reflect societal malaise and his own inner turmoil. His determination to paint in a market-unfriendly manner is characteristic of his resolve. His canvases provide no safety net for the unwary viewer. Here is a confident artist aware of his self and his role with no fig leaf to offer those seeking beauty in art—not that his work is unbeautiful.

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Growing up in Dehradun, Latika Katt learnt to observe everything closely through the numerous trekking expeditions she took with her botanist father. She completed her bachelor’s in fine arts from Banaras Hindu University and later completed her master’s from the Faculty of Fine Arts, M. S. University, Baroda, in 1971. Interestingly, hers was the first art degree batch of the prestigious institution and she was the first female student to receive a gold medal in sculpture from the university. Later, in 1981, she received a research scholarship from the Slade School of Art, London. Learn More