Search results for: 'steven universe it's over isn't it'

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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DAG invited leading historians of Delhi, Swapna Liddle and Rana Safvi, to explore our archives collection. The items they found there include numerous photographs of the three durbars, taken by prominent photographers of the day. They also include many other objects relating to the durbars, from portraits and medals, to maps and official guidebooks, and to tickets and programmes. Historians in the past have analysed the ideology of the Delhi durbars, but never before has such a collection of the material culture of these events been brought together for display.

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The DAG Archive has over 90,000 photographs taken by Nemai Ghosh, a bulk of which includes still photographs and behind the scenes images of films as well as candid and staged portraits of Satyajit Ray. In conjunction to these materials, DAG Archive has also acquired a set of two notebooks of Ray which contains the hand-written film scripts of <i>Ghare Baire</I> (The Home and The World, 1984) and Samapti (The Conclusion) which is one of the short films from the anthology, Teen Kanya (Three Women, 1961). Interestingly, both these films are adaptations from Rabindranath Tagore’s literary works.

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Modernist sculptor Amar Nath Sehgal was one of the earliest Indian artists to take legal action under the Indian Copyright Act defending his moral right over his work. In 1957, Sehgal created a mural for Vigyan Bhavan, New Delhi, on a government commission, which was pulled down without his permission or any intimation in 1979. Sehgal went to court and won the lawsuit. Learn More

This historic exhibition based on the association twenty-seven Indian artists had with art institutions, museums and art movements in Paris throws light on France as a cradle of modernism and what Indian artists gained from this relationship. Akbar Padamsee Amrita Sher-Gil Anjolie Ela Menon Arun Bose Chintamoni Kar Himmat Shah Jehangir Sabavala Jogen Chowdhury K. K. Hebbar Kanwal Krishna Krishna Reddy Laxman Pai Laxman Shrestha Nalini Malani Nasreen Mohamedi Nirode Mazumdar P. Khemraj Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rajendra Dhawan Ram Kumar Sailoz Mukherjea Sakti Burman Sunil Das Syed Haider Raza V. Nageshkar V. Viswanadhan Zarina Hashmi

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Manifestations, DAG’s signature exhibition showcasing the very best of modern Indian art, appears this winter in its landmark tenth edition, bringing together seventy-five of India’s best-known and most established modernists. The artworks are grouped by genre into the categories of mythology, landscape, still-life, figurative, narrative and abstract art, and present the mature styles of the participating artists. Raiba A. M. Davierwalla Abanindranath Tagore Ambadas Arpana Caur Avinash Chandra Benode Behari Mukherjee Bikash Bhattacharjee Biren De Chittaprosad D. P. Roy Chowdhury Dhanraj Bhagat Early Bengal (Anonymous) F. N. Souza G. R. Santosh Gaganendranath Tagore Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel Gogi Saroj Pal Gopal Ghose Haku Shah Hemanta Misra Hemendranath Majumdar Himmat Shah Indra Dugar J. Sultan Ali J. Swaminathan Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Panicker K. G. Subramanyan K. K. Hebbar K. Laxma Goud K. S. Kulkarni K. S. Radhakrishnan Kalighat Pat (Anonymous) Laxman Pai M. A. R. Chughtai M. F. Husain M. V. Dhurandhar Manu Parekh Meera Mukherjee N. S. Bendre Nandalal Bose Dharamnarayan Dasgupta Nikhil Biswas P. Khemraj P. T. Reddy P. V. Janakiram Paritosh Sen Piloo Pochkhanawalla Prosanto Roy R. Vijaivargiya Rabin Mondal Rabindranath Tagore Raghav Kaneria Raja Ravi Varma Ramkinkar Baij S. Dhanapal S. H. Raza S. K. Bakre Satish Gujral Shanti Dave Shyamal Dutta Ray Sohan Qadri Somnath Hore Sunayani Devi Sunil Das Sunil Madhav Sen Thota Vaikuntam V. Nageshkar

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Born in Dacca (now Dhaka) in present-day Bangladesh, Prodosh Das Gupta studied sculpture under Hiranmoy Roy Chowdhary at the Lucknow School of Arts and Crafts (1932-33), and under D. P. Roy Chowdhury at Government School of Art and Craft, Madras (1933-37). Over the next two years, he studied bronze casting at LCC Central School, London, and sculpture at Royal Academy of Arts, London, and Académie de la Grande Chaumière, Paris. He returned to India in 1940 and set up his studio in Calcutta. He subsequently taught at M. S. University, Baroda, and at Calcutta’s Government College of Arts and Crafts. Learn More

Tipu Sultan’s historical legacy has led to several conversations, among which its visual inheritance has provided room for debate on its particularly skewed European view. Catch our guest speaker William Dalrymple’s reflections on this subject.

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Group 1890 remains unique in the journey of modern Indian art for various reasons, the most important being J. Swaminathan as the force behind the short-lived collective that held only one exhibition in its lifetime, in 1963. In 2016, DAG organized a ‘second’ exhibition of the group, featuring works by all its founder members. Learn More

The showstoppers at the entrance of the DAG booth at the India Art Fair 2020 included a poignant painting of Draupadi’s saree being unfurled in the Kaurava court painted by M. V. Dhurandhar, alongside a work by an unknown artist in the style of the Early Bengal School—the oldest work on display. Together, they were a pointer to the masterpieces on display at the DAG booth, covering over roughly a century of art practice in India. DAG’s representation included some fine artworks such as a huge canvas by K. H. Ara, a ceramic sculpture by Mrinalini Mukherjee, a stunning canvas by Sohan Qadri, colourful abstract paintings by J. Swaminathan, Shanti Dave and G. R. Santosh, a masterful work by S. H. Raza, a lovely Jamini Roy, and paintings by M. F. Husain, Krishen Khanna, Paritosh Sen, J. Sultan Ali, Madhvi Parekh and others—each of unparalleled quality. J. SULTAN ALI BIKASH BHATTACHARJEE G. R. SANTOSH PARITOSH SEN EARLY BENGAL OIL K. C. S. PANIKER MADHVI PAREKH S. H. RAZA KRISHEN KHANNA SHANTI DAVE K. H. ARA PRABHAKAR BARWE M. V. DHURANDHAR M. F. HUSAIN HEMEN MAZUMDAR KSHITINDRANATH MAJUMDAR MRINALINI MUKHERJEE SOHAN QADRI JAMINI ROY J. SWAMINATHAN

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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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