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The purpose of art, the Paris-trained artist Amrita Sher-Gil wrote in 1936, is to "create the forms of the future” by “draw[ing] its inspiration from the present.” Through art, new worlds can be imagined into existence as artists cultivate forms of belonging and networks of association that oppose colonialist and nationalist norms. Drawing on Edward Said’s notion of “affiliation” as a critical and cultural imperative against empire and nation-state, Worldly Affiliations traces the emergence of a national art world in twentieth-century India and emphasizes its cosmopolitan ambitions and orientations. Sonal Khullar focuses on four major Indian artists—Sher-Gil, Maqbool Fida Husain, K. G. Subramanyan, and Bhupen Khakhar—situating their careers within national and global histories of modernism and modernity. Through a close analysis of original artwork, archival materials, artists’ writing, and period criticism, Khullar provides a vivid historical account of the state and stakes of artistic practice in India from the late colonial through postcolonial periods. She discusses the shifting terms of Indian artists’ engagement with the West—an urgent yet fraught project in the wake of British colonialism—and to a lesser extent with African and Latin American cultural movements such as Négritude and Mexican muralism. Written in a lucid and engaging style, this book links artistic developments in India to newly emerging histories of modern art in Asia, Africa, and Latin America. Drawing on original research in the twenty-first-century art world, Khullar shows the persistence of modernism in contemporary art from India and compares its function to Walter Benjamin’s ruin. In the work of contemporary artists from India, modernism is the ground from which to imagine futures. This richly illustrated study juxtaposes little-known, rarely seen, or previously unpublished works of modern and contemporary art with historical works, popular or mass-reproduced images, and documentary photographs. Its innovative art program renders newly visible the aesthetic and political achievements of Indian modernism.
Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2011-Jan. 8, 2012.
The book examines the interactions between Britain and India during the Raj in relation to issues of empire and visual culture. It explores the impact of the Anglo-Indian colonial encounter on the arts and aesthetic traditions of both cultures. Presenting a unique overview that ranges from painting, print-making and photography to architecture, exhibitions and Indian crafts, the book considers the art of urban elites and princely states alongside popular arts. The book highlights the key role of art in forging British colonial ideology. It offers accessible discussions of issues such as Orientalism and (post)colonialism and presents current approaches to questions of British art and empire. It is structured around visual examples which include early nineteenth-century British views of India, Indian negotiations of Western aesthetics represented by Company painting, Kalighat art, and the rise of Indian national art. It covers the display of Indian crafts both in India and at international exhibitions in Britain, as well as the place of India in the British Arts and Crafts movement. The role of the market and items of fashion such as the Kashmir shawl are also discussed, along with the role of photography in representing the colony and questions around national and imperial architecture. The book is aimed at students but will also be relevant to members of the general public with an interest in questions of art, visual culture and empire in relation to Britain and British India.
Appropriate for one-semester art history surveys or historically-focused art appreciation classes, A History of Western Art, Fourth Edition, offers an exciting new CD-ROM, additional color plates, and a number of new features. Focusing on the Western canon of art history, the text presents a compelling chronological narrative from prehistory to the present. A new non-Western supplement, World Views: Topics in Non-Western Art, addresses specific areas of non-Western art and augments the Western chronology by illustrating moments of thematic relationships and cross-cultural contact. World Views is available at a discount when packaged with History of Western Art.
Accounts of paintings produced during the Mughal dynasty (1526–1857) tend to trace a linear, “evolutionary” path and assert that, as European Renaissance prints reached and influenced Mughal artists, these artists abandoned a Persianate style in favor of a European one. Kavita Singh counters these accounts by demonstrating that Mughal painting did not follow a single arc of stylistic evolution. Instead, during the reigns of the emperors Akbar and Jahangir, Mughal painting underwent repeated cycles of adoption, rejection, and revival of both Persian and European styles. Singh’s subtle and original analysis suggests that the adoption and rejection of these styles was motivated as much by aesthetic interest as by court politics. She contends that Mughal painters were purposely selective in their use of European elements. Stylistic influences from Europe informed some aspects of the paintings, including the depiction of clothing and faces, but the symbolism, allusive practices, and overall composition remained inspired by Persian poetic and painterly conventions. Closely examining magnificent paintings from the period, Singh unravels this entangled history of politics and style and proposes new ways to understand the significance of naturalism and stylization in Mughal art.