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This book is a documentation of significant practicing painters and sculptors of Greater Pre-Independence India between 1750 and 1950. The task of collecting this scattered material of Colonial-era to the united India, lead to search for names of artists from Pakistan, Sri Lanka, Nepal, Bangladesh and of course India. This register records almost 3000 names of practicing Indian artists, gathered assiduously from National archives, Museum records, rare old journals and books, and present living family members of deceased artists. In the absence of a legitimate record of the names of these forgotten artists names of many famous court painters under the patronage of Kings, Nawabs, and local rulers have been pushed into oblivion, with their works described in generalized terms, like coming from the ‘Colonial Period’ or ‘Post Mughal Period’, with a short description of a few painting styles of Provincial Schools.This book is the first of its kind and a small step towards giving recognition to these lost artists. Roop Narayan Batham
Partha Mitter's book is a pioneering study of the history of modern art on the Indian subcontinent from 1850 to 1922. The author tells the story of Indian art during the Raj, set against the interplay of colonialism and nationalism. The work addresses the tensions and contradictions that attended the advent of European naturalism in India, as part of the imperial design for the westernisation of the elite, and traces the artistic evolution from unquestioning westernisation to the construction of Hindu national identity. Through a wide range of literary and pictorial sources, Art and Nationalism in Colonial India balances the study of colonial cultural institutions and networks with the ideologies of the nationalist and intellectual movements which followed. The result is a book of immense significance, both in the context of South Asian history and in the wider context of art history.
Explores how the British Empire responded to the environmental challenges of the world's largest tidal delta.
Auction catalog; with reproduction of the original paintings by various painters.
Auction catalog of the paintings of Indian artists held by the Osian's, Mumbai.
Here Is A Visual Feast Of Osian'S Hugely Successful Landmark Auction Of Memorabilia Relating To Hindi Cinema 1930S-70S. This Publication Forms An Invaluable Resource For Fans, Students And Scholars Of Indian Visual Culture And Graphic Art.
For the past forty years or more, the most influential, respected, and popular scholar of modern Indian history has been Sumit Sarkar. When his first monograph, The Swadeshi Movement in Bengal 1903–1908, appeared in 1973 it soon became obvious that the book represented a paradigm shift within its genre. As Dipesh Chakrabarty put it when the work was republished in 2010: "Very few monographs, if any, have ever rivalled the meticulous research and the thick description that characterized this book, or the lucidity of its exposition and the persuasive power of its overall argument." Ten years later, Sarkar published Modern India 1885–1947, a textbook for advanced students and teachers. Its synthesis and critique of everything significant that had been written about the period was seen as monumental, lucid, and the fashioning of a new way of looking at colonialism and nationalism. Sarkar, however, changed the face not only of modern Indian history monographs and textbooks, he also radically altered the capacity of the historical essay. As Beethoven stretched the sonata form beyond earlier conceivable limits, Sarkar can be said to have expanded the academic essay. In his hands, the shorter form becomes in miniature both monograph and textbook. The present collection, which reproduces many of Sarkar's finest writings, shows an intellectually scintillating, skeptical-Marxist mind at its sharpest.
Working with Bengali mentors, especially his close friend A. B. Ghose, Sir John Woodroffe became the pseudonymous orientalist Arthur Avalon, famous for his tantric studies at the beginning of the twentieth century. Best known for The Serpent Power, the book which introduced 'Kundalini Yoga' to the western world, Avalon turned the image of Tantra around, from that of a despised magical and orgiastic cult into a refined philosophy which greatly enhanced the prestige of Hindu thought to later generations of westerners. This biographical study is in two parts. The first focuses on Woodroffe's social identity in Calcutta against the background of colonialism and nationalism - the context in which he 'was' Arthur Avalon. To a very unusual degree for someone with a high position under the empire, Woodroffe the British High Court Judge absorbed the world of the Bengali intellectuals of his time, among whom his popularity was widely attested. His admirers were attracted by his Indian nationalism, to which his tantric studies and supposed learning formed an important adjunct. Woodroffe's friend Ghose, however, was the chief source of the textual knowledge in which the 'orientalist' scholar appeared to be deeply versed. The second part of this study assesses Woodroffe's own relationship to Sanskrit and to the texts, and highlights his very extensive but gifted use of secondary sources and the knowledge of Ghose and other Indian people. It examines the apologetic themes by which he and his collaborators made Tantra first acceptable, then fashionable. Partly because of his mysterious pseudonym, Woodroffe acquired a near legendary status for a time, and remains a fascinating figure. This book is written in a style that should appeal to the general reader as well as to students of Indian religions and early twentieth century Indian history, while being relevant to the ongoing debate about 'orientalism'.
The book responds to the challenge of the global turn in the humanities from the perspective of art history. A global art history, it argues, need not follow the logic of economic globalization nor seek to bring the entire world into its fold. Instead, it draws on a theory of transculturation to explore key moments of an art history that can no longer be approached through a facile globalism. How can art historical analysis theorize relationships of connectivity that have characterized cultures and regions across distances? How can it meaningfully handle issues of commensurability or its absence among cultures? By shifting the focus of enquiry to South Asia, the five meditations that make up this book seek to translate intellectual insights of experiences beyond Euro–America into globally intelligible analyses.
Auction catalog; with reproduction of the original paintings by various painters.