When we think of cat portraits in Indian art, Jamini Roy often comes to mind. His ‘Cat stealing a prawn’ remains one of the most enduring images by an Indian modernist. However, few are aware of
R B Bhaskaran
’s artistic fascination with feline figures. A marquee name in the 1960s
Madras Art Movement
, Bhaskaran frequently explored themes involving both cats and couples.
His cats, often perched in varied postures, exude agility and shape-shifting qualities. In contrast, his man-woman couples remain deliberately stiff in their poses — a playful spoof on the black-and-white wedding photographs commonly displayed on walls across India. One such work by Bhaskaran, showcasing his signature elements — a cat, a couple, and a fish — will be featured by Artworld-Sarala’s Art Centre, one of South India’s oldest galleries, at the Times of India’s upcoming Art of India (AOI) Festival, to be held in Delhi and Mumbai.
Madras magic
“AOI curator
Alka Pande
has selected pieces from our collection to reflect the eclectic range of artists we work with. While we specialise in mid-20th-century art from the Madras Art Movement, we also represent stalwarts from across India who have contributed to the evolution of modern Indian art,” says Anahita Banerjee, director of Artworld-Sarala’s Art Centre, a partner gallery for the exhibition. Other highlights from the Chennai-based gallery include AP Santhanaraj’s oil-on-canvas from the 1980s. Known for his masterful explorations of line and form, Santhanaraj is considered one of the most influential artists of the second wave of Madras Art Movement following KCS Paniker and S Dhanapal.
From masters to self-taught artists working outside the gallery scene, AOI celebrates the story of Indian art in its entirety. Divided into five key categories — ‘Masters’, ‘Hidden Gems’, ‘Folk and Tribal Art’, ‘Tomorrow’s Blue Chips’, ‘Contemporary’ and ‘Inclusivity’ — the show explores themes such as social realism, nationalism and climate change. Partner galleries will showcase India’s evolving artistic narrative.
Manan Relia, director of Archer Art Gallery in Ahmedabad, describes his gallery’s 20 exhibits as a comprehensive lineup. The Masters section highlights works by artists such as KG Subramanyan, Manu Parekh, Jeram Patel and Bhupen Khakhar, offering glimpses into iconic creations that have shaped
Indian art history
. The second section focuses on emerging contemporary artists like Alpesh Dave, Manish Chavda and Nabibakhsh Mansoori.
Surreal to traditional
Dushyant Patel’s surrealist frames, inspired by Salvador Dalí and René Magritte, and Bharti Prajapati’s paintings — often themed around Krishna, Kabir, and women inhabiting nature — are notable. “Dave stitches on canvas in his mixed-media works. His ‘In the Sea’ features a stitched figure diving into an ocean of pink,” says Relia. The third category is dedicated to traditional art, with exquisite Nathdwara Pichwais on subjects like the Tree of Life, Gopashtami, and the Hanuman Chalisa, showcasing the depth and diversity of India’s cultural heritage. “These are unique and rarely seen in public exhibitions. They will appeal to both seasoned collectors and general viewers,” assures Relia.
For Uday Jain, a third-generation owner of Delhi’s
Dhoomimal Gallery
, AOI stands out for its unique format as a collective exhibition. “Unlike other art fairs where galleries display independent collections in separate stalls, this festival is a single, cohesive exhibition. It brings together the best works from various galleries, spanning centuries and multiple generations,” says Jain whose 80-year-old gallery has contributed significant pieces, including a rare oil-on-canvas by AH Müller who gained prominence as a ‘romantic realist’ in early 20th century India. It depicts a royal court scene with a sultry dancer and a besotted maharaja. Jain describes it as “one of the most iconic works in the exhibition.”
Other works from the gallery include an FN Souza canvas from the 1960s featuring one of his iconic distorted heads and an early J Swaminathan from his Colour Geometry of Space series, illustrating his neo-tantric idioms and abstract symbolism.
Delhi’s Art Magnum gallery will also present a diverse range of mediums — from hand-cut paper on acrylic to digital prints mounted on a lightbox — in a category called ‘Tomorrow’s Blue Chips’, identifying artists poised to become the next rage. “The vision for the gallery has always been to showcase works that are creating a new language in art,” says Saurabh Singhvi, director at Art Magnum. “The idea is to present something where the artist explores areas unfamiliar to the viewer,” he adds.
