View within the Northern Entrance of Gundecotta Pass
Watercolour on paper
Thomas Anbury, a military engineer, would have seen this stunning gorge while surveying the route of the allies (the British, Hyderabad State, and the Marathas), as they occupied territory that Tipu Sultan ceded in 1792 after the third Anglo Mysore war. Today, Gandikota is in Andhra Pradesh, while Mysore is in Karnataka, even though they are linked through their histories. What other places are connected in this way?
Francis Swain Ward
Fortress of Gwalior
Lithograph, tinted with watercolour on paper
Every major power tried to control Gwalior Fort. Sometimes, they suceeded. Today, the Fort hosts a school, museums, temples, a gurudwara, and archaeological sites owned by the governments of India and Madhya Pradesh. With so many ‘owners’ both in the past and the present, is it possible to decide whether the Fort ‘truly’ belongs to any one? Look closely at the subtitle of this image. It suggests that the picture was made just after the Fort was captured by General Popham in 1779, during the first battles between the Marathas and the British. In fact, it dates to 1804, just after the Fort was won by the British once more, during the second Anglo-Maratha wars.
William Hodges
A View of Chinsura, the Dutch Settlement in Bengal
Engraving, tinted with watercolour on paper
The Dutch, the Danes and the French also established colonies in the Indian subcontinent. Although the French and Dutch retained Pondicherry and Goa as colonial outposts, the British eventually became the main colonial power in our part of the world. How might different experiences of colonialism have shaped the struggle for freedom in these places compared to British India? What about those places that were not under European colonial rule?
Thomas Anbury
View within the Northern Entrance of Gundecotta Pass
Watercolour on paper
Thomas Anbury, a military engineer, would have seen this stunning gorge while surveying the route of the allies (the British, Hyderabad State, and the Marathas), as they occupied territory that Tipu Sultan ceded in 1792 after the third Anglo Mysore war. Today, Gandikota is in Andhra Pradesh, while Mysore is in Karnataka, even though they are linked through their histories. What other places are connected in this way?
Francis Swain Ward
Fortress of Gwalior
Lithograph, tinted with watercolour on paper
Every major power tried to control Gwalior Fort. Sometimes, they suceeded. Today, the Fort hosts a school, museums, temples, a gurudwara, and archaeological sites owned by the governments of India and Madhya Pradesh. With so many ‘owners’ both in the past and the present, is it possible to decide whether the Fort ‘truly’ belongs to any one? Look closely at the subtitle of this image. It suggests that the picture was made just after the Fort was captured by General Popham in 1779, during the first battles between the Marathas and the British. In fact, it dates to 1804, just after the Fort was won by the British once more, during the second Anglo-Maratha wars.
William Hodges
A View of Chinsura, the Dutch Settlement in Bengal
Engraving, tinted with watercolour on paper
The Dutch, the Danes and the French also established colonies in the Indian subcontinent. Although the French and Dutch retained Pondicherry and Goa as colonial outposts, the British eventually became the main colonial power in our part of the world. How might different experiences of colonialism have shaped the struggle for freedom in these places compared to British India? What about those places that were not under European colonial rule?
Thomas Anbury
View within the Northern Entrance of Gundecotta Pass
Watercolour on paper
Thomas Anbury, a military engineer, would have seen this stunning gorge while surveying the route of the allies (the British, Hyderabad State, and the Marathas), as they occupied territory that Tipu Sultan ceded in 1792 after the third Anglo Mysore war. Today, Gandikota is in Andhra Pradesh, while Mysore is in Karnataka, even though they are linked through their histories. What other places are connected in this way?
Francis Swain Ward
Fortress of Gwalior
Lithograph, tinted with watercolour on paper
Every major power tried to control Gwalior Fort. Sometimes, they suceeded. Today, the Fort hosts a school, museums, temples, a gurudwara, and archaeological sites owned by the governments of India and Madhya Pradesh. With so many ‘owners’ both in the past and the present, is it possible to decide whether the Fort ‘truly’ belongs to any one? Look closely at the subtitle of this image. It suggests that the picture was made just after the Fort was captured by General Popham in 1779, during the first battles between the Marathas and the British. In fact, it dates to 1804, just after the Fort was won by the British once more, during the second Anglo-Maratha wars.
William Hodges
A View of Chinsura, the Dutch Settlement in Bengal
Engraving, tinted with watercolour on paper
The Dutch, the Danes and the French also established colonies in the Indian subcontinent. Although the French and Dutch retained Pondicherry and Goa as colonial outposts, the British eventually became the main colonial power in our part of the world. How might different experiences of colonialism have shaped the struggle for freedom in these places compared to British India? What about those places that were not under European colonial rule?
Unidentified Thanjavur artist
Accountant and wife
Gouache highlighted with gold pigment on paper
These charming portraits (here and on the following pages) of some of the professions that powered trade and the economy, are but a few examples of the people that the British and other empire-building Europeans relied on. They could not have lived and worked in India without having their help. How much do we too rely on such professions today?
Unidentified Thanjavur artist
Silk weaver and wife
Gouache highlighted with gold pigment on paper
India’s rich textiles and expert weavers were valued globally for thousands of years, so it is no surprise to see a dress merchant or weaver here. But the needs of administering European trade and colonies in India provided new employment opportunities to some Indians, just as later, the computing boom provided new kinds of jobs in software development and programming. What other jobs and economic opportunities did the colonial trade network provide?
Unidentified Thanjavur artist
Accountant and wife
Gouache highlighted with gold pigment on paper
These charming portraits (here and on the following pages) of some of the professions that powered trade and the economy, are but a few examples of the people that the British and other empire-building Europeans relied on. They could not have lived and worked in India without having their help. How much do we too rely on such professions today?
Unidentified Thanjavur artist
Silk weaver and wife
Gouache highlighted with gold pigment on paper
India’s rich textiles and expert weavers were valued globally for thousands of years, so it is no surprise to see a dress merchant or weaver here. But the needs of administering European trade and colonies in India provided new employment opportunities to some Indians, just as later, the computing boom provided new kinds of jobs in software development and programming. What other jobs and economic opportunities did the colonial trade network provide?
Dorothy Newsome
Mulagandha Kuti Vihara
Chromolithograph on paper
The spot where the Mulagandha Kuti Vihara shrine is built, is believed to be the place where Gautama Buddha, the founder of Buddhism, rested on his visits to nearby Sarnath, in today’s Uttar Pradesh. The area used to be a deer park. Do you know any other names for Sarnath? Dorothy Newsome and a fellow artist, Kathleen Nixon, worked together on magazine and book illustrations. They were in India on other work in the late 1920s, when Newsome was commissioned to design posters for the railways. How would you design a poster for Sarnath? Would you choose an elephant too?
V. A. Mali
Ellora
Chromolithograph on paper
The Hindu, Buddhist and Jain temples and monasteries cut from rock at Ellora are over a thousand years old. They are considered world heritage, and not just special to India alone. Which other places in India are so famous? V. A. Mali was a well known artist, who lived from 1911-2011. He was born in Kolhapur and studied at Mumbai’s Sir J. J. School of Art and would have designed this poster when he was around 19. How much would Ellora have changed in the course of his life? How has it changed since he made this?
Unidentified artist
Simla by Rail Motor
Chromolithograph on paper
The rail line to Shimla, the summer capital of the British Raj, opened nearly 120 years ago. A lot of political activity, including meetings to negotiate independence, such as the Shimla Conference of 1945, took place there. The railway made it possible for politicians from different parts of India to meet there.
Dorothy Newsome
Mulagandha Kuti Vihara
Chromolithograph on paper
The spot where the Mulagandha Kuti Vihara shrine is built, is believed to be the place where Gautama Buddha, the founder of Buddhism, rested on his visits to nearby Sarnath, in today’s Uttar Pradesh. The area used to be a deer park. Do you know any other names for Sarnath? Dorothy Newsome and a fellow artist, Kathleen Nixon, worked together on magazine and book illustrations. They were in India on other work in the late 1920s, when Newsome was commissioned to design posters for the railways. How would you design a poster for Sarnath? Would you choose an elephant too?
V. A. Mali
Ellora
Chromolithograph on paper
The Hindu, Buddhist and Jain temples and monasteries cut from rock at Ellora are over a thousand years old. They are considered world heritage, and not just special to India alone. Which other places in India are so famous? V. A. Mali was a well known artist, who lived from 1911-2011. He was born in Kolhapur and studied at Mumbai’s Sir J. J. School of Art and would have designed this poster when he was around 19. How much would Ellora have changed in the course of his life? How has it changed since he made this?
Unidentified artist
Simla by Rail Motor
Chromolithograph on paper
The rail line to Shimla, the summer capital of the British Raj, opened nearly 120 years ago. A lot of political activity, including meetings to negotiate independence, such as the Shimla Conference of 1945, took place there. The railway made it possible for politicians from different parts of India to meet there.
Dorothy Newsome
Mulagandha Kuti Vihara
Chromolithograph on paper
The spot where the Mulagandha Kuti Vihara shrine is built, is believed to be the place where Gautama Buddha, the founder of Buddhism, rested on his visits to nearby Sarnath, in today’s Uttar Pradesh. The area used to be a deer park. Do you know any other names for Sarnath? Dorothy Newsome and a fellow artist, Kathleen Nixon, worked together on magazine and book illustrations. They were in India on other work in the late 1920s, when Newsome was commissioned to design posters for the railways. How would you design a poster for Sarnath? Would you choose an elephant too?
V. A. Mali
Ellora
Chromolithograph on paper
The Hindu, Buddhist and Jain temples and monasteries cut from rock at Ellora are over a thousand years old. They are considered world heritage, and not just special to India alone. Which other places in India are so famous? V. A. Mali was a well known artist, who lived from 1911-2011. He was born in Kolhapur and studied at Mumbai’s Sir J. J. School of Art and would have designed this poster when he was around 19. How much would Ellora have changed in the course of his life? How has it changed since he made this?
Unidentified artist
Simla by Rail Motor
Chromolithograph on paper
The rail line to Shimla, the summer capital of the British Raj, opened nearly 120 years ago. A lot of political activity, including meetings to negotiate independence, such as the Shimla Conference of 1945, took place there. The railway made it possible for politicians from different parts of India to meet there.
Unidentified artist
Imperial Delhi Durbar
Oleograph on paper
George V and Mary were the first British King and Queen to attend a durbar in person in 1911. Although formal audiences and processions were familiar events for them in Britain, some local practices were new to them. King George wanted to ride a horse instead of the traditional elephant used for royalty in India. As a result, the people gathered to watch him enter Delhi missed spotting him! The British liked to present Indian rulers as colourful props on such occasions, and nationalist politicians took the same view. The truth was more complicated. Several princely states were better governed than British India. Do you think that everything in our past has to be rejected if it is old? Is there a place for our royal heritage in a democratic nation?
Unidentified artist
‘The Imperial Durbar’ (The Durbar of 1903)
Chromolithograph on paper
In 1903, the second of three Imperial durbars was held at Delhi, organised by George Curzon, Viceroy of India. He is seated on the first elephant with his wife Mary, in this image. Behind them are the Duke and Duchess of Connaught (brother and sister-in-law of King Edward VII), followed by Indian rulers. Does it remind you of other processions? Mary, the Vicereine, was born an American, and was just 33 when this event was organised. Do you think she had culture shock? The dress she wore during this durbar was made of a special cloth woven and embroidered in India, patterned on peacock feathers. It is still on display at the family house in Kedleston in England.
Unidentified artist
Maharana Bhupal Singh of Udaipur/ Mewar in procession in front of the City Palace
Gouache highlighted with gold pigment on fabric pasted on cardboard
Maharana Bhupal Singh (b. 1884) was ruler of Mewar State from 1930-1955. As the head of the senior royal house in Rajputana (now Rajasthan), his decision to join the Union of India in 1948 was an important signal to his contemporaries. He even hosted several meetings between fellowrulers and nationalist politicians, to discuss how to go about it. This view shows the Maharana in procession at the Manek Chowk of the City Palace at Udaipur, the capital. Such processions still take place, especially as a part of festivals. The royal courts were, and continue to be, patrons of local cultural and religious traditions. Is there a local festival that begins at a historic site where you are from?
Unidentified artist
Imperial Delhi Durbar
Oleograph on paper
George V and Mary were the first British King and Queen to attend a durbar in person in 1911. Although formal audiences and processions were familiar events for them in Britain, some local practices were new to them. King George wanted to ride a horse instead of the traditional elephant used for royalty in India. As a result, the people gathered to watch him enter Delhi missed spotting him! The British liked to present Indian rulers as colourful props on such occasions, and nationalist politicians took the same view. The truth was more complicated. Several princely states were better governed than British India. Do you think that everything in our past has to be rejected if it is old? Is there a place for our royal heritage in a democratic nation?
Unidentified artist
‘The Imperial Durbar’ (The Durbar of 1903)
Chromolithograph on paper
In 1903, the second of three Imperial durbars was held at Delhi, organised by George Curzon, Viceroy of India. He is seated on the first elephant with his wife Mary, in this image. Behind them are the Duke and Duchess of Connaught (brother and sister-in-law of King Edward VII), followed by Indian rulers. Does it remind you of other processions? Mary, the Vicereine, was born an American, and was just 33 when this event was organised. Do you think she had culture shock? The dress she wore during this durbar was made of a special cloth woven and embroidered in India, patterned on peacock feathers. It is still on display at the family house in Kedleston in England.
Unidentified artist
Maharana Bhupal Singh of Udaipur/ Mewar in procession in front of the City Palace
Gouache highlighted with gold pigment on fabric pasted on cardboard
Maharana Bhupal Singh (b. 1884) was ruler of Mewar State from 1930-1955. As the head of the senior royal house in Rajputana (now Rajasthan), his decision to join the Union of India in 1948 was an important signal to his contemporaries. He even hosted several meetings between fellowrulers and nationalist politicians, to discuss how to go about it. This view shows the Maharana in procession at the Manek Chowk of the City Palace at Udaipur, the capital. Such processions still take place, especially as a part of festivals. The royal courts were, and continue to be, patrons of local cultural and religious traditions. Is there a local festival that begins at a historic site where you are from?
Unidentified artist
Imperial Delhi Durbar
Oleograph on paper
George V and Mary were the first British King and Queen to attend a durbar in person in 1911. Although formal audiences and processions were familiar events for them in Britain, some local practices were new to them. King George wanted to ride a horse instead of the traditional elephant used for royalty in India. As a result, the people gathered to watch him enter Delhi missed spotting him! The British liked to present Indian rulers as colourful props on such occasions, and nationalist politicians took the same view. The truth was more complicated. Several princely states were better governed than British India. Do you think that everything in our past has to be rejected if it is old? Is there a place for our royal heritage in a democratic nation?
Unidentified artist
‘The Imperial Durbar’ (The Durbar of 1903)
Chromolithograph on paper
In 1903, the second of three Imperial durbars was held at Delhi, organised by George Curzon, Viceroy of India. He is seated on the first elephant with his wife Mary, in this image. Behind them are the Duke and Duchess of Connaught (brother and sister-in-law of King Edward VII), followed by Indian rulers. Does it remind you of other processions? Mary, the Vicereine, was born an American, and was just 33 when this event was organised. Do you think she had culture shock? The dress she wore during this durbar was made of a special cloth woven and embroidered in India, patterned on peacock feathers. It is still on display at the family house in Kedleston in England.
Unidentified artist
Maharana Bhupal Singh of Udaipur/ Mewar in procession in front of the City Palace
Gouache highlighted with gold pigment on fabric pasted on cardboard
Maharana Bhupal Singh (b. 1884) was ruler of Mewar State from 1930-1955. As the head of the senior royal house in Rajputana (now Rajasthan), his decision to join the Union of India in 1948 was an important signal to his contemporaries. He even hosted several meetings between fellowrulers and nationalist politicians, to discuss how to go about it. This view shows the Maharana in procession at the Manek Chowk of the City Palace at Udaipur, the capital. Such processions still take place, especially as a part of festivals. The royal courts were, and continue to be, patrons of local cultural and religious traditions. Is there a local festival that begins at a historic site where you are from?
Chittaprosad
Lezim
Ink on paper
Lezim is a folk dance from Maharashtra, with a few variations across the region. The artist, Chittaprosad, was especially good at portraying common people. He gained international attention for his drawings of the Bengal Famine of 1943-44. But these dancers are strong and full of energy, capturing the power of ordinary people and their life.
Nemai Ghosh
Bala
Inkjet print on archival paper
Bala Saraswathi, from Thanjavur in Tamil Nadu, came from a family of hereditary musicians and dancers. She made Bharatanatyam — originally called Sadir — famous around India and the world as a classical dance form. At the same time, other women of her community were banned from practising it after independence, as they were considered courtesans or ‘devadasis’, and thus not ‘suitable’.
Chittaprosad
Lezim
Ink on paper
Lezim is a folk dance from Maharashtra, with a few variations across the region. The artist, Chittaprosad, was especially good at portraying common people. He gained international attention for his drawings of the Bengal Famine of 1943-44. But these dancers are strong and full of energy, capturing the power of ordinary people and their life.
Nemai Ghosh
Bala
Inkjet print on archival paper
Bala Saraswathi, from Thanjavur in Tamil Nadu, came from a family of hereditary musicians and dancers. She made Bharatanatyam — originally called Sadir — famous around India and the world as a classical dance form. At the same time, other women of her community were banned from practising it after independence, as they were considered courtesans or ‘devadasis’, and thus not ‘suitable’.
A. S. Tendulkar
Institute of Science (and now also National Gallery of Modern Art, Mumbai)
Oil on canvas
The Institue of Science, today a part of the University of Mumbai, was founded as the Royal Institue of Science in 1920. Scholars have shown that many scientific advances and discoveries of the past were made in collaboration between experts and locals. Scientists were led by local knowledge, for example, of medicinal plants and wildlife, to develop new drugs or study diseases. Science is still done in collaboration today, and the best example of this is the development of Covid-19 vaccines by scientists all over the world. Can you name five internationally famous Indian scientists?
John Gantz
Madras beach and Custom House
Watercolour and graphite on paper pasted on mount board
Customs houses collect the taxes that governments charge on the products that enter and leave the country. Taxes are meant to support local business and the economy; and to fund the work of government. Under colonial rule, tax regimes supported British, rather than Indian business. Control over the revenues of India was essential to Indian independence. Customs houses are not the only way in which we pay taxes today. Can you think of a few others?
A. S. Tendulkar
Institute of Science (and now also National Gallery of Modern Art, Mumbai)
Oil on canvas
The Institue of Science, today a part of the University of Mumbai, was founded as the Royal Institue of Science in 1920. Scholars have shown that many scientific advances and discoveries of the past were made in collaboration between experts and locals. Scientists were led by local knowledge, for example, of medicinal plants and wildlife, to develop new drugs or study diseases. Science is still done in collaboration today, and the best example of this is the development of Covid-19 vaccines by scientists all over the world. Can you name five internationally famous Indian scientists?
John Gantz
Madras beach and Custom House
Watercolour and graphite on paper pasted on mount board
Customs houses collect the taxes that governments charge on the products that enter and leave the country. Taxes are meant to support local business and the economy; and to fund the work of government. Under colonial rule, tax regimes supported British, rather than Indian business. Control over the revenues of India was essential to Indian independence. Customs houses are not the only way in which we pay taxes today. Can you think of a few others?
Chittaprosad
Untitled
Ink on paper
Chittaprosad
Hindustan, Pakistan, Princestan
Ink and charcoal on paper
Chittaprosad
Untitled
Ink on paper
Chittaprosad
Hindustan, Pakistan, Princestan
Ink and charcoal on paper
Henri Cartier-Bresson
Crowds gather in front of Gandhi's room in Birla House
Silver gelatin print on paper
When photography was first invented, it was a difficult and labour-intensive process. There was a lot of equipment, chemicals that were easily spoilt in extreme weather conditions, and the process itself was slow. It was better suited for portraits, or calm landscapes. Despite this, photojournalism — telling a news story through pictures — is nearly as old as photography.
Henri Cartier-Bresson
Soldiers among the crowds gathering at Birla House after Gandhi's assassination
Silver gelatin print on paper
But it really became popular when cameras became portable, and when printing technology improved enough that photographs could be reproduced in newspapers and magazines. What recent news story did you learn about through a photograph? Do you still remember it?
Many people around the world and in India, learned about Gandhiji’s assasination through the photographs of Henri CartierBresson. The French photographer (who was a photographic artist as much as a photojournalist) was in India to take pictures of our newly independent country.
Henri Cartier-Bresson
Gandhi's cremation on the banks of the Jumna River
Silver gelatin print on paper
He met Gandhiji and photographed him moments before he stepped out for his last prayer meeting on 30 January 1948. And so he was there to take these images too, of a nation in shock and mourning at the killing of its ‘Father’.
Henri Cartier-Bresson
Crowds gather in front of Gandhi's room in Birla House
Silver gelatin print on paper
When photography was first invented, it was a difficult and labour-intensive process. There was a lot of equipment, chemicals that were easily spoilt in extreme weather conditions, and the process itself was slow. It was better suited for portraits, or calm landscapes. Despite this, photojournalism — telling a news story through pictures — is nearly as old as photography.
Henri Cartier-Bresson
Soldiers among the crowds gathering at Birla House after Gandhi's assassination
Silver gelatin print on paper
But it really became popular when cameras became portable, and when printing technology improved enough that photographs could be reproduced in newspapers and magazines. What recent news story did you learn about through a photograph? Do you still remember it?
Many people around the world and in India, learned about Gandhiji’s assasination through the photographs of Henri CartierBresson. The French photographer (who was a photographic artist as much as a photojournalist) was in India to take pictures of our newly independent country.
Henri Cartier-Bresson
Gandhi's cremation on the banks of the Jumna River
Silver gelatin print on paper
He met Gandhiji and photographed him moments before he stepped out for his last prayer meeting on 30 January 1948. And so he was there to take these images too, of a nation in shock and mourning at the killing of its ‘Father’.
Henri Cartier-Bresson
Crowds gather in front of Gandhi's room in Birla House
Silver gelatin print on paper
When photography was first invented, it was a difficult and labour-intensive process. There was a lot of equipment, chemicals that were easily spoilt in extreme weather conditions, and the process itself was slow. It was better suited for portraits, or calm landscapes. Despite this, photojournalism — telling a news story through pictures — is nearly as old as photography.
Henri Cartier-Bresson
Soldiers among the crowds gathering at Birla House after Gandhi's assassination
Silver gelatin print on paper
But it really became popular when cameras became portable, and when printing technology improved enough that photographs could be reproduced in newspapers and magazines. What recent news story did you learn about through a photograph? Do you still remember it?
Many people around the world and in India, learned about Gandhiji’s assasination through the photographs of Henri CartierBresson. The French photographer (who was a photographic artist as much as a photojournalist) was in India to take pictures of our newly independent country.
Henri Cartier-Bresson
Gandhi's cremation on the banks of the Jumna River
Silver gelatin print on paper
He met Gandhiji and photographed him moments before he stepped out for his last prayer meeting on 30 January 1948. And so he was there to take these images too, of a nation in shock and mourning at the killing of its ‘Father’.
March to Freedom re-interprets the well-known story of the Indian freedom struggle and anticolonial movement through works of art and some historic artefacts. Drawn from the collections of DAG, they range from eighteenth and nineteenth century European paintings and prints, to lesser known works by Indian artists that merit greater recognition, alongside some iconic pieces. Rather than following the usual chronological path, the story is structured around eight themes. Each represents one arena, or stage, on which the anti-colonial struggle took place, to expand the story beyond politics, politicians, and battles (which also feature). Conceived to commemorate and celebrate the 75th anniversary of India’s independence, this visual journey seeks to do more. For even as we remember the struggles, the sacrifices, and the stories, such anniversaries are also occasions for reflection, including upon the scholarship that has developed on South Asian history. Some of the latter may be familiar to academics, or those with special interests. For most of the rest of us, our knowledge of this past is derived in large part from hazy memories of school lessons, which change from one generation to the next, and are influenced by concurrent national politics. We also learn from narratives on offer through public channels or in the media, to mark moments of national remembrance or controversy.
Stella Brown
Merry Go Round
Oil on canvas
BATTLES FOR FREEDOM
India’s independence was hard won, and fought for. It is also celebrated because it showed the power of non-violent action, a strategy that continues to inspire us, and others around the world.
Not all the artworks here show battles; some show the landscapes of battle, reminding us that there was more involved than just the conflict itself, or its winners and losers. Battles also impact, and are shaped by, the people and lands in which they are fought. Stories of battle often feature heroes and villains. Sometimes, these are matters of perspective. We think of the British as the main opponents in these battles. In fact, there were many competing parties, and varied reasons for the conflicts that took place. Much of it was fuelled by quests for power and wealth, on all sides. They were also linked to international politics, the desire to control trade networks, and capture markets.
Thomas J. Barker
'The Relief Of Lucknow & Triumphant Meeting of Havelock, Outram, & Sir Colin Campbell, November 1857'
Engraving, tinted with watercolour on paper
Henry Singleton
The Last Effort and Fall of Tippoo Sultaun, 1802
Engraving, tinted with watercolour on paper
Thomas J. Barker
The Relief Of Lucknow & Triumphant Meeting of Havelock, Outram, & Sir Colin Campbell, November 1857
Engraving, tinted with watercolour on paper
Unidentified artist
Nanasaheb Peshwa, 1857
Offset print on paper
R.K Kelkar
Mangal Singh Pandey, 1857
Offset print on paper
Showing Tipu Sultan and his followers on the back foot before the advancing enemy, this scene is full of drama and energy. It is almost like a snapshot of real events. Indeed, this style is called ‘history painting.’ Contrasting starkly in style and iconography, the indigenous prints from the 1900s offer an Indian view of the events of 1857. Nana Sahib, 14th Peshwa of the Maratha empire, accused the East India Company of breaking financial arrangements that they had agreed. Mangal Pandey is symbolic of the many infantrymen in the Company’s armies in India who rebelled. By forcing soldiers to bite into rifle cartridges greased in cow or pig fat (banned to Hindus and Muslims for different reasons), the British upset Company troops from both communities.
Thomas Anbury
View within the Northern Entrance of Gundecotta Pass
Francis Swain Ward
Fortress of Gwalior
William Hodges
A View of Chinsura, the Dutch Settlement in Bengal
TRAFFIC OF TRADE
Water — and our ability to navigate it — has connected people across continents through time. Whether motivated by a spirit of adventure and exploration, better opportunities for a secure life, finding new markets for trade, or by accident, the waterways of the world have brought the world to our shores, and taken India to the world. Viewed this way, our history is that of our waters: what comes in and goes out with the tides. The seas brought Roman merchants and Arab traders in search of spices and textiles, and later, European commercial companies. Fleets of ships and boats made it possible to establish colonies, and to exploit the resources of faraway lands. Fortunes have been made and lost by water.
R. Dodd
Portrait of an East Indiaman sailing from Madras
Aquatint, tinted with watercolour on paper
Haren Das
'Fishing'
Woodcut on paper
Biren De
Untitled
Watercolour on paper
Haren Das
Ganges
Aquatint on paper
Charles Walters D'Oyly
Untitled
Oil on canvas
Charles D'Oyly
Garden Reach
Lithograph on paper
These pictures evoke the quiet, solitude, and labour that typify life on the water. They also remind us of ‘ordinary’ people and lives, and the major changes to historic trade networks that independence caused, as much as the colonial regime before it. The artists, Haren Das and Biren De were both born in what is now Bangladesh, but we think of them as Indian. Haren Das in particular is known for being inspired by memories of undivided Bengal. Contrasting with the style and mood of the prints, European academic paintings tended to focus more on the expanse of the landscape, where people occurred almost like decorative additions.
Unidentified Thanjavur artist
Accountant and wife
Unidentified Thanjavur artist
Silk weaver and wife
SEE INDIA
What picture would you choose for a postcard, to send to a friend who has never been to India? We imagine India variously. For some of us, it is through sounds, smells, and colours. For others, it is about family. 'India' could mean food, textiles, places of pilgrimage, or particular monuments and sites that evoke it. It could be the climate, or the distinct sounds of Indian birds. It could also be through a map, and the familiar places and names on it. How did we get to know the land that is India? One answer is, through travel. People have crisscrossed the subcontinent for centuries, for a variety of reasons. The railways helped to speed things up. Although constructed as an investment with little financial return to India, Indians too used the railways, and in unexpected ways.
Prahlad Anant Dhond
Untitled
Watercolour on paper
Dorothy Newsome
Mulagandha Kuti Vihara
V. A. Mali
Ellora
Unidentified artist
Simla by Rail Motor
RECLAIMING THE PAST
Europeans gained control over the Indian subcontinent, either directly or through treaties with local rulers. Over time, their understanding of India's past shaped our understanding of it. As they began to explore and write about India's history, Europeans used the knowledge they gained to their advantage, for example, by using established practices as processions and durbars to demonstrate their right to rule. Such spectacles, fashioned by rulers to impress their subjects with their power and prestige, were a familiar language to Indians. Europeans simply borrowed it, and used it to communicate their authority as the new rulers of India.
Thomas and William Daniell
Jai Singh's Observatory, Delhi
Watercolour and graphite on paper pasted on paper
Unidentified artist
Imperial Delhi Durbar
Unidentified artist
‘The Imperial Durbar’ (The Durbar of 1903)
Unidentified artist
Maharana Bhupal Singh of Udaipur/ Mewar in procession in front of the City Palace
EXHIBIT INDIA
It is through the arts — whether painting, architecture, literature, music, dance, theatre, or cinema — that human societies best express themselves, and define their identities. In consequence, suggesting the opposite - that people have no art - is also a way of denying their history and identity, and can result in their making every effort to disprove it. Although it was celebrated and sought after in the past, many in the colonial period thought that Indian art had declined, and needed rescue. Distinctions were made between ‘fine’ or ‘classical’ arts such as sculpture, painting, and literature; and ‘technical’, ‘decorative’ or ‘folk’ arts such as metalwork, weaving, and embroidery. These also intersected with gender, class, and caste divisions.
Sunil Madhav Sen
Musician
Oil, gravel and white cement on Masonite board
Nemai Ghosh
Shatranj ke Khiladi
Inkjet print on archival paper
Unidentified artist
'Deshbondhu Chittaranjan' (in Bengali), 1970
Chromolithograph on paper
Unidentified artist
Mother India
Offset print on paper
Films are hugely popular in India and have been shown in the subcontinent for over a hundred years. The world was more connected in the past than we realise today. New technologies and inventions like film and photography reached India almost as soon as they were developed. Indians took to the possibilities of film, and adapted it to local subjects and themes. Mythological stories were a popular choice because most of the audience knew the plots, which mattered because films were silent in the early years. They also drew on India’s long history of travelling performers and musicians. Today, of course, film songs are almost more famous than the main story! Another popular theme was the freeodm struggle, or the lives of well known or popular freedom fighters. Bhagat Singh alone has had 7 films made on his life so far.
Chittaprosad
Lezim
Nemai Ghosh
Bala
FROM COLONIAL TO NATIONAL
Governing a country spread across a subcontinent is a challenge that rulers and governments of India have addressed in different ways. There are usually some common factors, like buildings and infrastructure, or systems of administration. In the 19th and 20th centuries, the courts, jails, and secretariats from which India was administered were not only places of oppression, but sites of challenge and dissent. They were spaces where 'the public' came together, and learned to particiapte in governnance long before we became a republic. Some sites, like the Red Fort of Shahjahanabad, were older Indian spaces that became 'colonial,' and then 'national.' In 1947, when the British moved out of the barracks built after 1857, the Indian Army moved in until it vacated the premises in 2003.
Dattatraya Apte
'Lal-Qila (Red Fort)'
Intaglio on paper
Prokash Karmakar
Oh Calcutta/ Writers' Building
Oil and acrylic on canvas
Bijan Choudhary
Protest in front of Writer's Building
Watercolour and charcoal on paper
James Fraser
A view of the Writers Buildings, from the Monument at the West End
Engraving, tinted with watercolour on paper
Writers' Building and the square in front of it, have been a stage for the events of our history for nearly 250 years. Originally built to house the ‘writers’ or clerks of the East India Company, the building has undergone changes in both appearance and meaning over the centuries. Writers' Building and the square in front of it, have been a stage for the events of our history for nearly 250 years. The building has changed too. The original plain facade received a grand facelift when it became the Secretariat for the Bengal Presidency. In between, it also served as a college. After independence, it became the seat of the West Bengal government, and was further expanded to accommodate the many new departments that became necessary over time. These three images depict very different imaginations of this significant colonial monument and its presence in our cultural memory.
A. S. Tendulkar
Institute of Science (and now also National Gallery of Modern Art, Mumbai)
John Gantz
Madras beach and Custom House
SHAPING THE NATION
Mohandas Karamchand Gandhi stands tall as the father of the nation. We are all familiar with his role in our struggle for freedom, and his non-violent methods of protest that eventually forced the British to 'quit India.' But there were in fact many others who worked towards Independence, some of whose portraits are shown here. To succeed, the march to freedom needed people from all sections of our society to take part, and it included both men and women. The people portrayed here had very different ideas on what India meant; what freedom and independence could, and should look like. Their views were shaped by their backgrounds and experiences, as much as the world around them, the individuals they met, and the events they lived through.
Unidentified artist
Gandhi poster
Offset print and serigraph on paper
Unidentified photographer
C. Rajagopalachari
Silver gelatin print on paper
V. B. Pathare
Dr Ambedkar
Oil on canvas
Unidentified artist
Gandhi poster
Offset print on serigraph paper
The people portrayed here had very different ideas on what India meant; what freedom and independence could, and should look like. He appears modest and unassuming, but Bhimrao Ramji Ambedkar made formidable achievements in different fields: economics, social reform, politics, and law. He was the architect of the Indian Constitution, a Dalit icon, and known as ‘Baba Saheb’. Ambedkar dreamed of an India in which all its citizens were equal. He worked for it too, through the constitution and through campaigns like the Mahad or Water Satyagraha of 1927, to allow Dalits to use water from public tanks. C. Rajagopalachari, or ‘Rajaji’ was the first Indian to be Governor General of India, and the last person to hold that post, while India was a Dominion (in the gap between Independence and becoming a Republic). He was also a noted writer. The Dandi March was not the only one to challenge the salt tax laws. Have you heard of the Vedaranyam March? Rajaji led the march in what was then Madras Presidency, about a month after Gandhiji’s March at Dandi in 1931.
Chittaprosad
Untitled
Chittaprosad
Hindustan, Pakistan, Princestan
These stark and witty drawings offer sharp criticism of politics, politicians, and our society. They were made between 1946 and 1947, in the months leading up to Independence, and after it. They are unsparing, of both Indians and the British. Two of them relate directly to political events — the many plans, negotiations, and committees through which our future was ‘cooked up’, and the options for independence as ‘Hindustan, Pakistan, Princestan’ (that is, a confederation of princely states) that were considered. Everyone in them appears selfish and self-satisfied, focussed on themselves, and their political projects. Chittaprosad, the artist, used the power of his art to comment on the difficult, often miserable, lives of poor people, like in the other two drawings here. His work was banned and burned by the British government for revealing the suffering of ordinary Indians.
INDEPENDENCE
For the crowds gathered to see the national flag hoisted for the first time in an independent nation, it was a moment of celebration that had been long awaited. 15 August 1947 brought a freedom they had fought and sacrificed for. In the east and west of India, religious tensions had required former British provinces in Punjab, Assam, and Bengal to be partitioned. For those caught on the 'wrong' side of the new borders between India and Pakistan, Independence meant being uprooted from the lands they called home, either by choice or force, to migrate, and find a new life in their 'chosen' country. Many did not survive the violence that scarred their journeys, and tainted this moment.
Sudhir Khastgir
Untitled
Watercolour and graphite on paper
Satish Sinha
A Refugee Camp in South Calcutta
Watercolour and ink on paper laid on cardboard
Gopal Ghose
Untitled
Gouache on paper pasted on mount board
We often hear stories of people wanting
to take refuge in India, because their
home countries are being destroyed by
war, or they are in some personal danger.
India and Pakistan’s independence
created refugees within our own
countries. We have heard of the
thousands who fled in both directions
across the new border in divided Punjab.
Both partition and the movement of people had a different story in Bengal and Assam. The two governments tried to encourage people to stay (unlike in Punjab, where they tried to help them move).But people moved anyway — just as they did in 2020 during the covid pandemic, regardless of ‘official’ orders or policies. Some were scared, or threatened by hostile neighbours. Others felt strongly about belonging to one particular country rather than the other.
Henri Cartier-Bresson
Crowds gather in front of Gandhi's room in Birla House
Henri Cartier-Bresson
Soldiers among the crowds gathering at Birla House after Gandhi's assassination
Henri Cartier-Bresson
Gandhi's cremation on the banks of the Jumna River