Search results for: 'tugu merdeka b&w'

Jamini Roy’s was an art of quiet resistance that assimilated so seamlessly into the folk and craft traditions of Bengal that it did not cause any discernible ripples among the prevalent artistic mood. All around him, art was being nurtured, questioned, uprooted—it was, after all, a period when nationalist feelings ran high and a search for an indigenous lexicon was paramount—but Jaminida’s ability to look to tradition for a modern approach, though revolutionary, was instinctively natural and organic. It was art that everyone understood and wanted to take home. No wonder Jamini babu became a household name in his native Calcutta and went on to be honoured as one of the pre-eminent National Treasure artists of the country whose art has the greatest acceptance of any known Indian modernist.

By the end of the century, however, the scene was changing, and infrastructure—following the economic reforms in 1991—began to improve, creating an interest in collecting art. Twentieth century Indian modern art has since been at the forefront of collecting and investing in Indian art, and DAG, which has the largest private collection of Indian art has a marked focus on this period of Indian art. Ambadas F. N. Souza G. R. Santosh George Keyt Jamini Roy K. K. Hebbar Kanwal Krishna Laxman Pai M. F. Husain M. F. Pithawalla M. V. Dhurandhar Madhvi Parekh Nandalal Bose Nemai Ghosh Prokash Karmakar Rabin Mondal

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.

Most shows at DAG take time to develop because of the quality of research and scholarship they require to mount, but even by our own exacting standards, Continuum has taken longer than most. This, a retrospective in a sense of the six artists who formed the Progressive Artists’ Group, is seminal because it is for the first time since 1950 that the six artists forming the core group have been brought together in an exhibition of their works. The Progressives have become the rallying point for the modern movement in Indian art, and are considered among the most important artists of the last and current century. Of these, M. F. Husain, F. N. Souza and S. H. Raza dominate the market. Alongside, works by their contemporaries K. H. Ara, H. A. Gade and S. K. Bakre, who have largely been seen to have underperformed in comparison, will help re-draw such distinctions and place them on the same platform as their better-known peers. It will re-define their historical importance and gain them the recognition that is their due. Maqbool Fida Husain M.F.Husain Hari Ambadas Gade Syed Haider Raza Krishnaji Howlaji Ara Sadanandji k. Bakre Francis Newton Souza

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

'Home is a Place’ explores the visual world of the home as a physical space having both an exterior and an interior—with all its magic, hope and memories—in villages and towns. Our homes are central to our existence and society, being the reason for shaping towns and countries, civilisations and histories. The exhibition covers the complexity of lives within the jurisdiction of the home—women at their toilettes, women painted alone gazing out of the window or gossiping in a group; figures working in their library, engaged in household work, or as parents bathing children; a family posing together or feuding over a game of cards, food or egos; and those fighting tyranny or painted as embracing lovers. Altaf Ambika Dhurandhar Amit Ambalal Anonymous Anonymous (Kalighat Pat) Anonymous (Waring & Gillow) Avinash Chandra Badri Narayan Bijan Choudhary Chakravorty Chittaprosad Dattatraya Apte Dhanraj Bhagat G. R. Santosh Ganesh Pyne Gogi Saroj Pal Gopal Ghose Haren Das Hemen Mazumdar Hiranmoy Indra Dugar Indu Rakshit Jagadish Dey Jagmohan Chopra Jamini Roy Jyoti Bhatt K. C. S. Paniker K. S. Kulkarni Kisory Roy M. A. R. Chughtai M. Bulkley M. F. Husain M. V. Dhurandhar Madhvi Parekh Maniklal Banerjee N. R. Sardesai Nandalal Bose Navjot Nemai Ghosh P. T. Reddy Partha Pratim Deb Piraji Sagara Prabhakar Barwe R. B. Bhaskaran Rabin Mondal Radha Charan Bagchi Ramendranath Rekha Rodwittiya Roychaudhuri S S. K. Bakre Sadequain Sakti Burman Sanat Kar Shanti Dave Shyamal Dutta Ray Somnath Hore Subba Ghosh V. A. Mali V. Nageshkar Ved Nayar Abani Sen Paritosh Sen Sunil Madhav Sen Sushil Chandra Sen Nataraj Sharma Shuvaprasanna Muni Singh Paramjeet Singh Paramjit Singh S. G. Thakar Singh Sobha Singh Satish Sinha F. N. Souza K. G. Subramanyan Anupam Sud L. N. Taskar Vasudha Thozhur