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Christie's First Auction in India Makes Inr 96,59,37,500
PRESS RELEASE | MUMBAI FOR IMMEDIATE RELEASE | 19 December 2013 CHRISTIE’S FIRST AUCTION IN INDIA MAKES INR 96,59,37,500 /US$15.4 MILLION DOUBLING PRE-SALE ESTIMATES UNTITLED BY VASUDEO S. GAITONDE SELLS FOR INR 23,70,25,000 (US$3.7MILLION) HIGHEST PRICE FOR A MODERN WORK OF ART SOLD IN INDIA WORKS FROM THE GANDHY ESTATE TOTALS INR 26,10,70,000 (US$4.1 MILLION) Auctioneer, Dr. Hugo Weihe, International Director of Asian Art, sells Vasudeo S. Gaitonde‟s Untitled work for INR 23,70,25,000 (USD$3,792,400) at Christie‟s first auction in India. Mumbai – This evening in Mumbai, Christie‟s first auction in India totaled INR 96,59,37,500 (USD$15,455,000), doubling pre-sale expectations and selling 98% by lot. This auction marks an historic moment for Christie‟s, building on a 20-year history in India, and a decade of global market leadership in Modern Indian Art through sales in New York and London. At this evening‟s auction buying came from around India, across Asia, the US and Europe, reflecting both the world-wide interest in this category and Christie‟s global reach. The pre-sale exhibitions during the past two weeks in New Delhi and Mumbai attracted many visitors and interest from both new and existing clients was so great at this evening‟s auction that an extra room had to be prepared to accommodate clients. The sale was held at The Taj Mahal Palace, Mumbai. “It has been a true privilege to be in India where we have been honoured by the warm welcome. -
11 Indian Painting
MODULE - V Indian Painting Painting, Performing Arts and Architecture Notes 11 INDIAN PAINTING hen you go to the market or to a museum you will find many paintings, wall hangings or work done on terracotta. Do you know that these paintings have Wtheir origin in ouir ancient past. They depict the life and customs followed by the people of those times. They also show how the kings and queens dressed or how the courtiers sat in the royal assembly. Literacy records which had a direct bearing on the art of painting show that from very early times painting both secular and religious were considered an important form of artistic expression and was practised. This need for expression is a very basic requirement for human survival and it has taken various forms since prehistoric times. Painting is one such form with which you may have been acquainted in some way or the other. Indian painting is the result of the synthesis of various traditions and its development is an ongoing process. However while adapting to new styles, Indian painting has maintained its distinct character. “Modern Indian painting in thus a reflection of the intermingling of a rich traditional inheritance with modern trends and ideas”. OBJECTIVES After reading this lesson you will be able to: trace the origin of painting from the prehistoric times; describe the development of painting during the medieval period; recognise the contribution of Mughal rulers to painting in India; trace the rise of distinct schools of painting like the Rajasthani and the Pahari schools; assess -
Nasreen Mohamedi: Untitled, Undated
Milton Keynes Gallery Nasreen Mohamedi: Untitled, Undated. Pen, pencil and ink on paper (49.5cm x 69 cm) Courtesy Glenbarra Art Museum Collection, Japan Nasreen Mohamedi 5 September – 15 November 2009 Preview: Friday 4 September 18.00-20.00 Milton Keynes Gallery Nasreen Mohamedi 5 September – 15 November 2009 Preview: Friday 4 September 18.00-20.00 Media Partner: ArtAsia Pacific Magazine Exhibition supported by The Charles Wallace Trust India, The Red Hot World Buffet, The Nehru Centre and the Nasreen Mohamedi Circle of Friends, including Modern Art and those who wish to remain anonymous Milton Keynes Gallery is delighted to announce a major solo exhibition of work by important Indian artist Nasreen Mohamedi. Her diary pages, drawings and photographs combine Western influences such as Paul Klee and Kasimir Malevich with Islamic architectural forms and a South Asian sensibility, resulting in an intensely personal body of work. Born in Karachi, India (now Pakistan) in 1937, Mohamedi created a highly developed language from the 1950s to the 1980s. Early drawings often suggest plants and trees, before the artist focused on creating variations around the grid format; later works present free-floating geometric forms that evoke futuristic, mechanical or architectural devices. These abstract forms were often developed in intricately detailed diaries, written throughout the artist’s life, where the written word morphs into personalised symbols, grids and diagonals. The artist traces or weaves regular patterns in her drawings, as if mapping a pulse or internal flow onto external phenomena. Her tightly cropped photographs seek out elemental forms such as the repetitive patterns found in the sea or landscapes as well as in the constructed world, in architecture and urban design. -
Shuvaprasanna Bhattacharya — Concise Bio
Shuvaprasanna Bhattacharya — Concise Bio Major Solo Exhibitions − 2011 'Shuvaprasanna: Recent Works', Centre of International Modern Art (CIMA), Kolkata − 2011 Traveling Retrospective at Lalit Kala Akademi; Art Indus; Gallery Nvya, New Delhi; Tao Art Gallery, New Delhi − 2008 ‘Night Watch’, Art Alive Gallery, New Delhi − 2007 ‘Madhura: The Golden Flute’, organized by Indian Contemporary at Visual Arts Centre, Hong Kong − 2006 ‘Evocative Expressions: In Quest of Krishna’, Art Alive Gallery, New Delhi − 2006 ‘Evocative Expressions: In Quest of Krishna’, ITC Sonar Bangla Art Gallery, Kolkata − 2006 ‘The Divine Flute’, Aicon Gallery, USA − 2005 ‘The Golden Flute’, organized by Indian Fine Art at Cymroza Art Gallery, Mumbai − 2004 ‘Lila’, organized by Art Indus, New Delhi at Shridharni Art Gallery, New Delhi − 2004 ‘The Divine Flute’, Gallery ArtsIndia, New York − 2002 ‘Icons and Illusions’, Gallery Arts India, New York − 2002 ‘Madhura’, Art Indus, New Delhi − 2000 ‘Shuvaprasanna’s Icon and Retrospective’, organized by Art Indus at Indira Gandhi National Centre for the Arts, New Delhi − 2000 Fine Art Company, Mumbai − 2000 Gallery Sumukha, Bangalore − 2000 Art world, Chennai − 1998 ‘An Appreciation of Ted Hughes’, Exhibition of Crow Paintings, British Council, Kolkata − 1998 Art Indus, New Delhi − 1995 Painters Home Gallery, Kolkata − 1995 Gallery Sanskritii, New Delhi − 1994 Vadhera Art Gallery, New Delhi − 1994 Galerie Grewal Mohanjeet, Paris, France − 1993 ‘Metropolis’, Portraits of Calcutta, Centre for International Modern Art (CIMA), Kolkata -
The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled
The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short. -
Indian Art History from Colonial Times to the R.N
The shaping of the disciplinary practice of art Parul Pandya Dhar is Associate Professor in history in the Indian context has been a the Department of History, University of Delhi, fascinating process and brings to the fore a and specializes in the history of ancient and range of viewpoints, issues, debates, and early medieval Indian architecture and methods. Changing perspectives and sculpture. For several years prior to this, she was teaching in the Department of History of approaches in academic writings on the visual Art at the National Museum Institute, New arts of ancient and medieval India form the Delhi. focus of this collection of insightful essays. Contributors A critical introduction to the historiography of Joachim K. Bautze Indian art sets the stage for and contextualizes Seema Bawa the different scholarly contributions on the Parul Pandya Dhar circumstances, individuals, initiatives, and M.K. Dhavalikar methods that have determined the course of Christian Luczanits Indian art history from colonial times to the R.N. Misra present. The spectrum of key art historical Ratan Parimoo concerns addressed in this volume include Himanshu Prabha Ray studies in form, style, textual interpretations, Gautam Sengupta iconography, symbolism, representation, S. Settar connoisseurship, artists, patrons, gendered Mandira Sharma readings, and the inter-relationships of art Upinder Singh history with archaeology, visual archives, and Kapila Vatsyayan history. Ursula Weekes Based on the papers presented at a Seminar, Front Cover: The Ashokan pillar and lion capital “Historiography of Indian Art: Emergent during excavations at Rampurva (Courtesy: Methodological Concerns,” organized by the Archaeological Survey of India). National Museum Institute, New Delhi, this book is enriched by the contributions of some scholars Back Cover: The “stream of paradise” (Nahr-i- who have played a seminal role in establishing Behisht), Fort of Delhi. -
Forgotten Masters: Indian Painting for the East India Company Guest Curated by William Dalrymple
The Wallace Collection - New Exhibition Announcement: Forgotten Masters: Indian Painting for the East India Company Guest Curated by William Dalrymple 4 December 2019 – 19 April 2020 Tickets on sale from 16 September 2019 In partnership with DAG New Delhi-Mumbai-New York In December 2019, the Wallace Collection presents Forgotten Masters: Indian Painting for the East India Company. Curated by renowned writer and historian William Dalrymple, this is the first UK exhibition of works by Indian master painters commissioned by East India Company officials in the late eighteenth and nineteenth centuries. It is an unprecedented opportunity to see these vivid and highly original paintings together for the first time, recognising them as among the greatest masterpieces of Indian painting. Comprising works from a wide variety of Indian traditions, the exhibition moves the emphasis from the Company commissioners onto the brilliance of the Indian creators. It belatedly honours historically overlooked artists including Shaikh Zain ud-Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram and Ghulam Ali Khan and sheds light on a forgotten moment in Anglo-Indian history. Reflecting both the beauty of the natural world and the social reality of the time, these dazzling and often surprising artworks offer a rare glimpse of the cultural fusion between British and Indian artistic styles during this period. The exhibition highlights the conversation between traditional Indian, Islamic and Western schools and features works from Mughal, Marathi, Punjabi, Pahari, Tamil and Telugu artists. They were commissioned by a diverse cross-section of East India Company officials, ranging from botanists and surgeons, through to members of the East India Company civil service, diplomats, governors and judges, and their wives, as well as by more itinerant British artists and intellectuals passing through India for pleasure and instruction. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Indian Folk Paintings
Exhibition: September 28, 2014 –January 11, 2015 East-West Center Gallery, Honolulu, Hawai‘i The East-West Center Arts Program presents INDIAN FOLK COLORFUL STORIES PAINTINGS Curator: Michael Schuster | Installation: Lynne Najita | Artist-in-Residence and Consultant: Gita Kar SUSHAMA CHITRAKAR NARRATES SCROLL | W. BENGAL, 2013 | PHOTO: GAYLE GOODMAN. Narrative paintings tell stories, either great epics, local regional heroes, telling painting to be exhibited include as one episode or single moment in and contemporary issues important the scrolls of the Patua from West a tale, or as a sequence of events to villagers such as HIV prevention. Bengal and the Bhopa of Rajasthan, unfolding through time. The retelling Traditionally, scroll painters and the small portable wooden of stories through narrative painting and narrative bards wandered from temples of the Khavdia Bhat, also can be seen throughout India in village to village singing their own from Rajasthan. In addition, the various forms. This exhibition focuses compositions while unwinding their exhibition will highlight narrative folk on several unique folk art forms that scroll paintings or opening their story paintings from the states of Odisha, tell the stories of deities from the boxes. Examples of this type of story - Bihar and Andhra Pradesh. Kavad Bhopa and Phad The kavad is a small mobile wooden Phad , or par , a 400-year old picture temple, made in several sizes with story-telling tradition from the desert several doors. It is constructed and state of Rajasthan, illustrates a panoply painted in the village Basi, known for of characters and scenes from medieval its wood craftsmen (called Kheradi). -
Nerve Studio Residency.Indd 2 28/06/13 10:52 PM
nerve trend Residencies have been part of most vocations – and art is one of them. India has recognised its scope only recently, offering an optimistic platform for many Sleeping With Your Art hen you drive past the long stretch of shanties on Wadibunder Road, WMumbai, you begin to wonder if the essence of art really does linger close by. Your GPS beeps just then, instructing you to take a left turn into a big iron gate. A watchman unquestioningly lets you in as you hoot an impatient honk. Yet, your doubt persists because heavy labour and heavy machinery is all you see around you. It seems like people know the purpose of your visit. A man waves at you to take a turn at the end of the sprawling compound. And just as you do, Space 118 comes into view. In front of you are three occupied studios and to your left stands a cosy-looking cottage of sorts under a brick roof. This is Saloni Doshi’s office. It is cluttered with small sized sculptures and a neat stack of paintings against its walls. With an enthusiastic interest in art’s offerings, this thirty something collector revamped part of an industrial space for the purpose of studio residencies for artists – budding and bloomed. Like most spaces in 2009, it was inaugurated with the intention of focussing on artists with limited exposure to the creative realm’s ecosystem. Graduates and those from smaller towns deem it an honour to be accepted for a residency. Sometimes they need to pay a fee, and at other times it’s a barter of one of their creations. -
A Crisis Among the Patuas at Naya, West Bengal
Chitrolekha International Magazine on Art and Design (ISSN 2231-4822), Vol. 6, No. 2, 2016 DOI: http://dx.doi.org/10.21659/chitro.v6n2.10 www.chitrolekha.com © AesthetixMS Educational Marginality: a Crisis among the Patuas at Naya, West Bengal Thakurdas Jana1 Abstract This paper presents a survey on the educational condition of the Chitrkar community of Naya, West Bengal. Traditionally the Chitarkars are a community of both scroll painters and oral performances, who have been engaged in this profession for many centuries. In the age of popular mass media and more recently after the globalization both the community and their art are facing many challenges. One primary solution is spreading modern education among them. With this objective, a survey was made in order to understand their situation and find out some liable solution so that the artist and their art survive in the future. Keywords: Patachitra, Naya, higher education, communication. Introduction: Patachitrai, a primitive performing art form in Eastern India, is found at Dubrajpur in Odisha and also at Naya in West Bengal. The painting of 'Pattachitra' resemble the old murals of Odisha and Bengal dating back to the 5th century BC. According to Buddhaghosha, Gautama Buddha admired Charanachitra, a primitive form of Pata painting (Ray, 69). Patua songs are also mentioned in Patanjali’s Mahabhasya: “. Patanjali in his Mahabhasya has vividly described how the folk artists used to depict the episode of ... The picture was painted on a scroll, suspended from the left hand of the “Pattikara”, who in course of his demonstration was singing a song in connection with the Yamapatta. -
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the art of the art of CONTENTS January – March 2012 Director’s Note 5 © 2012 Delhi Art Gallery Pvt. Ltd., New Delhi Editor’s Note 7 White, Black And Grey: 10 The Colonial Interface Paula Sengupta ‘Revivalism’ And The 32 11 Hauz Khas Village, New Delhi 110016, India ‘Bengal School’ Tel: 91 11 46005300 Sanjoy Mallik DLF Emporio, Second Floor, Vasant Kunj New Delhi 110070, India History And Utopia 44 Tel: 91 11 41004150 Ina Puri Email: [email protected] www.delhiartgallery.com Late 18th Century -1910 62 PROJECT EDITOR: Kishore Singh 1911-1920 103 EXECUTIVE EDITOR: Shruti Parthasarathy PROJECT COORDINATOR: Nishant and Neha Berlia 1921-1930 120 RESEARCH: Aditya Jha, Puja Kaushik, Poonam Baid, Sukriti Datt 1931-1940 140 PHOTOGRAPHY OF ARTWORKS: Durga Pada Chowdhury 1941-1950 164 RESTORATION: Priya Khanna 1951-1960 208 DESIGN: Madhav Tankha, Vivek Sahni – Vivek Sahni Design 1961-1970 252 PRINT: Archana Printers Pvt. Ltd., New Delhi 1971-1980 298 All rights are reserved under international copyright conventions. No part of this catalogue may be reproduced or utilised in any form or by any means, 1981-1990 340 electronic and mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing 1991-2010 368 from the publisher. 2000-2010 400 ISBN: 978-93-81217-23-8 Artist Profiles 415 Front cover: Author Profiles 452 Back cover: Artist Groups in Bengal 453 Bibliography 454 Artist Index 461 DIRECTOR’S NOTE engal – the association with its art (and literature, and cinema, and food) is instinctive, almost as if it’s DNA-coded into its people.