The world's fascination with Persian carpets existed long before we heard tales of Aladdin and his Magic Carpet. A thousand stories of its weavers, their craftsmanship, and a promise to transport you to faraway lands stitch together the fabric of the quintessential Persian carpet. The history of its artistic magnificence dates back to 500 BC.

Bhanu Athaiya achieved a lot over six decades - the only woman member of the Progressive Artists Group and the first Indian to win an Oscar.

Bhulabhai Desai Memorial Institute (BDMI) was a center for innumerable artists of diverse fields and practices. An institute with the same structure and bohemian style has never been established again, giving rise to various experiments, collaborations, and discussions. The impact of the atmosphere created at the BDMI has touched the practice of artists visiting the space for various reasons.

In reading about the Bhulabhai Desai Institute, one can acquaint themselves with a few historically important personalities who supported contemporary Indian art in the 1950s and 1960s by nurturing talent and providing an international stage and platform for many of them.

Somnath Hore's pictorial language in his sketches, sculptures, and prints is more often a reaction to one of the major crises that hit Bengal in the 20th century. Here we focus on his printmaking.  

Abstraction refers to non-representational art, Figurative art refers to something with reality - both definitions are broad and have to be in fact, as otherwise, it would be seemingly impossible to categorize many artworks. What's the connection between these definitions with Vasudeo Santo Gaitonde's art? The connection becomes clear thanks to a recent exhibit at the Prince of Wales Museum (now called Chhatrapati Shivaji Maharaj Vastu Sangrahalay).

Peggy Guggenheim was born in 1898 in New York. Her father, Benjamin Guggenheim, and uncle, Solomon R. Guggenheim were power brokers. The family’s fortune came from mining and smelting industries.

A portfolio of original photographs from Santiniketan and the life and social norms present in the campus from the '40s and '50s. The photographs Mahatma Gandhi's visit to Santiniketan.

My earliest memories are swathed in the scent of mountain pines and a constant leitmotif of a rattling train that would carry me back to our home in Dehradun named Mitali on Rajpur Road – my magical El Dorado – where I spent my childhood with my mother, Meera ma, my maternal grandmother, Lal dida, and my Jethu and foster father, Rathindranath (Tagore).

The freedom struggle in India saw a lot of posters made by Indians to unite the masses to oppose the British Raj. These posters or prints were often considered to be seditious material and were confiscated by the British.