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Shown at the Shanghai Biennale, exhibited in New York, widely admired for his consistency throughout his career, Rabin Mondal’s excoriating paintings are a savage indictment of social and political ills. A reticent, reserved artist, Mondal’s works offer a scathing commentary on the pursuit and abuse of power. A primal, primordial figuration describes his work in which people in positions of authority are rendered vulnerable because of the very power they aspire to. Their contorted features and clawed hands and feet represent their venality. Strong outlines, naked brushstrokes and potent use of green and red characterise most his work.

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The midwestern city of Chicago hosts one of America’s most important art fairs—Expo Chicago—in which DAG participated in an attempt to introduce Indian moderns to the diaspora there as well as to art-lovers in general. To introduce art to this midwestern population, DAG picked on well-established names from the Indian art marquee. This included the National Treasure artist Jamini Roy whose works outside India are a rarity since they cannot be exported. Others included the Progressives F. N. Souza and M. F. Husain, New York-based printmakers Krishna Reddy and Zarina Hashmi (both now deceased) and artist Natvar Bhavsar, abstractionists Sohan Qadri and G. R. Santosh, a rare sculpture by Prodosh Das Gupta, and a body of other modernists representing the diverse range of works created by Indian artists in the twentieth century. A suite of small format watercolour landscapes by Bireswar Sen was a highlight of the booth. Avinash Chandra Bireswar Sen Chittaprosad F N Souza F N Souza G R Santosh Ganesh Pyne Jamini Roy K.S Kulkarni Krishna Reddy Laxman Pai M F Husain Madhvi Parekh Natvar Bhavsar Paritosh Sen Prodosh Das Gupta Rabin Mondal Sohan Qadri Zarina Hashmi

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New York’s popular Armory Show required DAG to put forth its most emphatically modernist artists. These included several who had been fellows of the John D. Rockefeller III Fund and would thus have a resonance among art connoisseurs in America for their language and context. Instead of concentrating on the Progressives, therefore, DAG decided to curate a selection that included works by Avinash Chandra and Natvar Bhavsar with extensive careers in New York, and an important body of works by artists such as S. H. Raza, Ram Kumar, Krishen Khanna, Paritosh Sen, and Satish Gujral, among others. Avinash Chandra Jyoti Bhatt K G Subrmanyan Krishen Khanna Natvar Bhavsar Paritosh Sen Ram Kumar Tyeb Mehta Rekha Rodwittiya S. H. Raza Satish Gujral

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DAG’s emphasis for the 2019 edition of India Art Fair was a rarity—a selection of works of the kind visitors had not before seen. These included a glass mural by Avinash Chandra, a medium the artist loved but which had never before been shown in India; a large mural by Mrinalini Mukherjee; an artist’s chair by Prabhakar Barwe; evocative works by Hemendranath Mazumdar, Manjit Bawa, and Tyeb Mehta; powerful paintings by F. N. Souza, M. F. Husain, Rabin Mondal, and Krishen Khanna; exemplary abstract paintings by Ram Kumar, Shanti Dave, Sohan Qadri, J. Swaminathan, and G. R. Santosh; and other equally powerful artworks including a double-sided sculpture by Meera Mukherjee.

Avinash Chandra F N Souza G R Santosh Hemendranath Majumdar J Swaminathan Krishen Khanna M F Husain Madhvi Parekh Manjit Bawa Meera Mukherjee Mrinalini Mukherjee Paritosh Sen Prabhakar Barwe Rabin Mondal Ram Kumar S H Raza S K Bakre Shanti Dave Sohan Qadri Tyeb Mehta

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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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It is ironical that works by Tyeb Mehta, who did not attach much merit to the financial value of art, were the first by a living Indian artist to sell for more than Rs 1 crore, and, soon, for more than a million dollars, indicating a beginning of interest in Indian art in the international market. His works Celebration, Kali and Mahishasura marked the beginning of the boom in the Indian art market at the start of this century. Learn More

Born in Lyallpur in pre-Partition Punjab, Krishen Khanna grew up in Lahore. He studied at Imperial Service College, England, from 1938-42 as a Rudyard Kipling scholar. Returning to Lahore for a course in English literature at the Government College, he simultaneously took evening classes at the Mayo School of Art. Khanna briefly worked as a printer at Kapur Art Press, Lahore, before his family moved to Simla upon Partition. He worked at the Grindlays Bank in Bombay and Madras from 1946-61, subsequently resigning from his job to devote himself to art. Learn More

Born in Delhi in 1947, Amitava Das graduated from College of Art, New Delhi, in 1972. At the time, he was part of New Group and Artists’ Forum, and in the same decade won Lalit Kala Akademi’s national award. In 1989, he won a fellowship to study exhibition and graphic design in Germany. Learn More

An exhibition and workshop drawing from Cartoon Dol’s archives of Bengal’s caricature art, on confronting social-political issues through humour and satire, with a closing performance by Chandrabindoo. 

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Ghare Baire was a museum-exhibition showcasing over 200 years of art in Bengal. Presented by DAG in collaboration with the National Gallery of Modern Art and the Archaeological Survey of India, the exhibition was housed at the historic Currency Building, across twelve galleries featuring over 700 artworks. The exhibition was the largest showcase of Bengal Art, presenting a panoramic view of the evolution of art in a region that has been critical to the development of Indian modern art. The exhibition starts with the arrival of the travelling European artists at a time of exchange between Bengal and the world. This confluence of cultures stimulated new visual languages as we see in the Kalighat pat,  the Bengal School, and the subsequent emergence of artists who fearlessly and freely experimented with form and subject, reshaping the trajectory of art in India.

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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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