An unabating artist whose creative expression was unfazed by the trials and tribulations he faced, A.A. Raiba (b. 1922) was relentless; almost restless in his artistic pursuits till the very end saying, “Itni Umar Gayi, Kam khatam nahi Hua".  His visual narrative was derived from his love for Urdu poetry and Islamic Literature. Born in Mumbai, most of Raiba’s works exude nostalgia and are intimate observations of old Bombay and his travels all over the country. Raiba’s oeuvre is rooted in intensively researched history with influences from his lifelong practice in Calligraphy.
Like a blithe child colouring on the walls despite protests, nothing deterred F.N. Souza (b. 1924) from asserting his art. His art, whose first impact is to shock, elicits a childlike element of uninhibited honesty with no filter, unafraid, and almost oblivious to those offended. His unrestrained and thought-provoking body of work makes one wonder about the power of art and its hold over the human psyche. Broad and bold lines jump out of the canvas attacking with speed, deeming him an eternal rebel.
A meditative quality fills the senses as one steps into Raza's creative sanctuary in Delhi. Walls of art adorn each corridor, doorway, and room, giving one a glimpse inside the artist's mind. The leitmotif of Bindu in Raza's art looks out from all his canvases. While old photographs and a typewriter tell stories from another time. This studio is an exhibition of Raza's intimate world as an artist and a dreamer.
[The present article by the veteran artist Gobardhan Ash, stands testament to two of the pioneering ventures, in recent years, at creating a cumulative creative space for young artists of this country ━ both of which he had been a part of. Mr. Ash was subsequently involved with the Calcutta Group as well.]
The only time I have seen M. F. Husain in person was at his exhibition in honour of singer M. S. Subbulakshmi at a gallery in Chennai (Madras) in 2004. Wearing no footwear, except for thick black socks, and wielding a massive paintbrush in one hand, Husain was surrounded by a group of Chennai’s socialites. I was patiently waiting behind them to meet Husain when he suddenly popped out and said, “Hello”. I was giddy with excitement and asked him to autograph the invitation card I had in my hand. He did so and quickly moved on to greet the next visitor. Husain was as excited to meet unknown gallery visitors as they were to meet him—the energy was amazing for a man who, at that time, was 91 years old. A year or so later, Husain left India, never to return.
Once upon a time, a dreamer derived his painterly language from Indian mythological tales, legends, and fables rich in moral and spiritual lessons. Manjit Bawa (b. 1941) introduced fragments of his thoughts, ideas, and poetry into the rational world throughout his artistic oeuvre. Born in Dhuri, Punjab, Bawa's childlike fascination with music, spirituality, and philosophy breathed heavily on his canvas. Manjit Bawa's artworks are mystical musicals that strike a chord and capture a dream.
Stated below is the text of the second catalogue of the Bombay Progressive Artists' Group in collaboration with the Calcutta Group. Gobardhan Ash's works were exhibited in the joint show of the Calcutta Group and Progressive Artists’ Group alongside masters such as K.H. Ara, Francis Newton Souza, Maqbool Fida Husain, S.H. Raza, H.A. Gade, and S.K. Bakre at Calcutta in 1950. This document is indeed a historically prominent yet lesser-known artistic discovery in the world of modern Indian art.
A silent, dedicated artist content amidst the walls of paintings stacked in his Begampur mud house stirred a quiet revolution against the preconceived notions of artistic expression. No wonder Gobardhan Ash (b.1907) carved a niche for himself as an individualistic artist who fearlessly explored diverse artistic styles and techniques.
Years ago, artists from various walks of life gravitated towards a creative anomaly near Mumbai's Opera House. The Weavers' Service Centre was established in the 1950s by Pupul Jayakar. Masters such as Prabhakar Barwe, Anand Mohan Naik, Gautam Waghela, Ramesh Vaghela, and Gopal Adivrekar designed textiles at the center for years to support themselves while exploring their identities as artists.
Bhanu Athaiya: The legacy of a long-hidden sun
It was D.G. Nadkarni, elder statesman among Bombay’s art critics, who first told me that Bhanu Athaiya had trained as a painter and had once shown alongside the members of the Progressive Artists' Group (PAG).
"My father, a multifaceted man, was far ahead of the times. His thirst for knowledge led him to explore avenues of learning beyond scholastic and academic boundaries. He would travel to Mumbai frequently to collect books on various subjects ranging from painting to photography and embroidery to film making. These books were imported from Britain by Englishmen who had big stores in Mumbai.
Bombay, May 2010 - "I was exposed to paintings from a very young age. My father was a self-taught artist who sometimes painted in oils by studying the old European masters and sometimes following his own inspiration. In his studio, he had many books on paintings of European masters like Leonardo Da Vinci, Rembrandt, Turner, Gainsboro, Constable, and others. I enjoyed looking at these books just as I enjoyed washing my father's brushes and pallet.