Paintings at National Gallery of Modern Art, New Delhi

Portrait of a Lady
Raja Ravi Varma, Public domain,
via Wikimedia Commons
National Gallery of Modern Art, Delhi
Introduction

In the cultural heart of New Delhi stands the National Gallery of Modern Art (NGMA), a sanctuary dedicated to India’s artistic journey from the mid-19th century to the present. 

While its holdings span sculptures, prints, photography, and artifacts, it is the paintings that breathe life most vividly into the gallery. 

NGMA’s collection of thousands of canvases does more than decorate walls; it narrates India’s evolution, its political awakenings, its cultural roots, and its modernist explorations.

Walking through its corridors is like leafing through an illustrated diary of India—where portraits, landscapes, abstractions, and folk expressions coexist. 

In this essay, we explore NGMA’s world of paintings, moving from the pioneering strokes of Raja Ravi Varma to the bold modernism of Amrita Sher-Gil, the indigenous idioms of Jamini Roy, and the abstract universes of Gaitonde and Raza. Special attention will be given to ten masterpieces, each narrated in around 100 words, as anchors to this story of art and imagination.

The Evolution of Indian Painting at NGMA

The NGMA’s paintings represent multiple stylistic epochs:

  • Colonial Realism: Artists such as Raja Ravi Varma combined European naturalism with Indian themes.

  • Bengal School and Revivalism: Abanindranath Tagore and Nandalal Bose shifted toward spiritual and indigenous subjects.

  • Early Modernism: Amrita Sher-Gil introduced European avant-garde styles into Indian contexts.

  • Post-Independence Progressives: Artists like M.F. Husain and F.N. Souza expressed modern anxieties and national identity.

  • Abstract and Contemporary: S.H. Raza, V.S. Gaitonde, Tyeb Mehta, and others expanded painting into spiritual and existential dimensions.

This evolution is best understood not as a linear progression but as a conversation, with each generation responding to or resisting the one before.

Ten Paintings of NGMA 

Klara Szepessy
Amrita Sher-Gil, Public domain,
via Wikimedia Commons
1. Klara Szepessy by Amrita Sher-Gil (1933)

Amrita Sher-Gil’s Klarra Szepessy is a luminous portrait that reflects both her technical mastery and her gift for psychological depth. 

Painted during her years of training in Europe, the work depicts her Hungarian friend Klarra Szepessy with a rare blend of intimacy and poise. 

The sitter is shown in a natural pose, her features carefully modeled with delicate brushwork that demonstrates Sher-Gil’s grounding in Western academic realism. 

Yet beneath the polished technique lies Sher-Gil’s distinct sensitivity—she captures not just likeness, but character. Klarra’s gaze is direct, contemplative, almost arresting, revealing her inner life as much as her outward beauty.

The color palette is restrained yet radiant, with subtle contrasts of flesh tones, muted fabrics, and a softly illuminated background that keeps the focus on the subject. Unlike many portraits of the period that emphasized external glamour, Sher-Gil’s Klarra Szepessy emphasizes psychological truth. 

The portrait speaks of friendship, trust, and the artist’s ability to imbue her subjects with humanity. Today, the painting is regarded as one of the finest examples of Sher-Gil’s early European period, standing at the crossroads of her Western training and her evolving Indian modernist vision.

Ancient Story Teller 1940 Saraya
Amrita Sher-Gil, Public domain,
via Wikimedia Commons {{PD-US}}

2. Ancient Story Teller by Amrita Sher-Gil

Painted in 1940, this canvas reveals Sher-Gil’s fascination with rural life and oral tradition. 

An elderly woman, wrinkled and weary, is shown in the act of narrating, her hands poised mid-gesture. The muted palette—ochres and browns—gives the scene both humility and gravitas. 

Sher-Gil transforms a familiar everyday scene into a meditation on continuity and heritage. The story teller becomes more than a character; she becomes a metaphor for India itself, passing wisdom across generations. 

The painting also reflects Sher-Gil’s own role: a modernist artist yet rooted in folk life, bridging worlds through brush and pigment.

The Swing 1940    {{PD-US}} 
Amrita Sher-Gil, Public domain,
                             via Wikimedia Commons

3. The Swing by Amrita Sher-Gil

A young woman on a swing occupies the center of this 1940 painting, suspended in a moment between motion and pause. 

The figure’s poised stillness creates a paradox—she seems both carefree and contemplative. The pastel palette softens the scene, lending it a dreamlike atmosphere. 

The swing itself becomes symbolic: of freedom, of fleeting joy, and of life’s pendulum between sorrow and delight. Sher-Gil captures a universal rural experience yet infuses it with her signature introspection. 

Through this painting, she shows that moments of play can carry layers of cultural resonance and personal memory.

Woman on Charpoy 1940 {{PD-US}} 
Amrita Sher-Gil, Public domain,
via Wikimedia Commons 

4. Woman on Charpoy by Amrita Sher-Gil

In this poignant 1940 painting, a woman reclines on a charpoy, the woven bed common to Indian households. 

The composition is stripped of grandeur—there is no ornament, only the figure and her quiet fatigue. 

Yet Sher-Gil renders the subject with dignity, her body forming strong lines against the sparse background. The subdued palette enhances the mood of reflection and stillness. 

The painting elevates the ordinary into the extraordinary, forcing viewers to confront the humanity of subjects often overlooked. It stands as a testament to Sher-Gil’s empathy and her ability to give voice to the silent.

Hungarian gypsy girl
Amrita Sher-Gil, Public domain, via Wikimedia Commons
5. Hungarian gypsy girl by Amrita Sher-Gil

Amrita Sher-Gil’s Hungarian Gypsy Girl is among her most celebrated early works, painted during her student years in Europe. 

The portrait depicts a young Roma girl, her dark, piercing eyes meeting the viewer with a mixture of defiance and vulnerability. 

Sher-Gil’s brushwork highlights the contours of the face, where shadows and light play to create a vivid sense of depth and immediacy. The flushed cheeks and somber background intensify the emotional charge, suggesting both vitality and hardship.

What makes the painting extraordinary is Sher-Gil’s ability to transcend mere portraiture. The subject is not romanticized; instead, she is presented with raw honesty and dignity, standing as a representation of marginalized lives that often remained invisible in mainstream art. 

The work reflects Sher-Gil’s empathy for the disenfranchised, a theme that would later dominate her Indian canvases. Stylistically, the painting bears the imprint of European realism, yet its emotional resonance anticipates the humanism of her Indian period. 

Hungarian Gypsy Girl remains a powerful testament to Sher-Gil’s early genius and her capacity to blend technique with compassion, securing its place as a cornerstone in the National Gallery of Modern Art’s collection.

Jamini Roy's painting of four womens painted on wall
Swapppp57, CC BY-SA 4.0, via Wikimedia Commons
6. Four Women by Jamini Roy

Jamini Roy’s Four Women is a striking example of his mature style, where simplicity, rhythm, and cultural rootedness converge into timeless visual poetry. 

Painted directly on wall surfaces, the composition presents four female figures aligned in harmony, their elongated almond-shaped eyes and serene expressions echoing the devotional calm of folk and Kalighat traditions. 

The women stand as archetypes rather than individuals, each rendered with bold outlines and flat, earthy colors—ochre, indigo, and terracotta—that resist naturalistic shading. 

Their gestures are minimal, yet they radiate dignity and quiet strength, embodying the grace of everyday Indian womanhood. By rejecting Western academic realism, Roy redefined modern Indian painting through indigenous idioms, celebrating communal identity over personal portraiture. 

The Four Women painting exemplifies his belief that true modernity lay in reclaiming native traditions and elevating humble village aesthetics into universal art. It remains one of his most admired works at the National Gallery of Modern Art.

7. Gossip by Jamini Roy

This painting portrays two women in close conversation, their faces tilted toward each other. The figures are rendered in Roy’s signature flat colors and bold outlines, resembling Kalighat paintings yet infused with modern minimalism. 

Their elongated almond eyes and rhythmic postures suggest intimacy and community. By choosing a humble subject—women gossiping—Roy dignified everyday rural life, bringing folk culture into the space of fine art. 

The composition is both playful and profound, reminding viewers that art can be born from the most ordinary exchanges. In NGMA’s galleries, Gossip remains a crowd favorite for its charm and simplicity.

8. Bapuji by Nandalal Bose

Created in 1930, this linocut shows Mahatma Gandhi walking with his iconic staff. Rendered in stark black and white, the image is simple yet powerful. The unadorned figure becomes a universal symbol of humility and strength. Bose’s choice of linocut—a medium accessible and reproducible—was deliberate, allowing the image to circulate widely during India’s independence struggle. 

The painting embodies the fusion of art and politics, where aesthetic choices served nationalist goals. At NGMA, Bapuji is displayed as both artwork and historical document, reminding visitors of the inseparability of art and freedom movements.

Bharat Mata—Mother India
Abanindranath Tagore,
Public domain,
via Wikimedia Commons

9. Mother India by Abanindranath Tagore

Painted in the early 20th century, this allegorical image shows a woman draped in saffron garments, holding symbolic items in her hands. 

She is not a goddess but a personification of India—spiritual, nurturing, and dignified. 

Rendered in the wash technique, the soft tonalities give the painting an ethereal quality. 

Abanindranath’s vision of “Bharat Mata” was central to the Bengal School’s nationalist agenda, offering an indigenous counter to Western academic realism. 

The painting is both political and poetic, making it one of NGMA’s most significant works in narrating the intertwining of art and national identity.

10. Raja Ravi Varma: Bridging Worlds

A Galaxy of Musicians
Raja Ravi Varma, Public domain, via Wikimedia Commons

Raja Ravi Varma, a pivotal figure in Indian modern art, pioneered a unique fusion of European academic techniques with traditional Indian subjects. 

His artistic approach was revolutionary for its time, as he masterfully blended Western realism with Indian mythology, portraits, and scenes of daily life. 

This synthesis not only made his art relatable but also immensely popular with the public.

One of his most iconic works, A Galaxy of Musicians (1889), brilliantly illustrates his vision. The painting features women from various regions of India, each dressed in her traditional attire and holding a distinct musical instrument. This canvas is more than just a beautiful composition; it's a powerful statement celebrating India's rich cultural diversity and unity.

Varma's influence extended far beyond the gallery. By making affordable lithographic prints of his paintings widely available, he democratized art, bringing it into the homes of common people and shaping India’s visual culture. 

His works served as a bridge between indigenous traditions and a global artistic language, profoundly impacting both his contemporaries and subsequent generations of artists. His legacy lies in his ability to create a new artistic vocabulary that was both distinctly Indian and universally resonant.

Other Significant Painters in NGMA

Beyond these ten masterpieces, NGMA’s walls host countless other gems. M.F. Husain’s galloping horses thunder with energy. F.N. Souza’s raw, distorted figures confront social hypocrisies. 

S.H. Raza’s geometric bindu pulsates with cosmic energy, blending Indian philosophy with abstract expressionism. Tyeb Mehta’s diagonal figures embody both struggle and transcendence. Together, these painters expand the vocabulary of Indian art, proving that modernism here is not derivative but deeply rooted in the subcontinent’s own rhythms.

The Experience of Seeing Paintings at NGMA

What makes NGMA extraordinary is not only the diversity of its paintings but also the way they converse with one another. In one gallery, Sher-Gil’s intimate women face Jamini Roy’s folk heroines; in another, Bose’s Gandhi meets Gaitonde’s abstractions. 

Visitors find themselves moving between realism and symbolism, politics and spirituality, personal confession and collective memory. The curation allows India’s artistic journey to unfold as a dialogue rather than a sequence. Each painting becomes part of a larger mosaic, reflecting both the artist’s vision and the nation’s evolving identity.

Conclusion

The National Gallery of Modern Art, New Delhi, is not merely a repository of paintings; it is a living narrative of India’s cultural soul. From the romantic realism of Raja Ravi Varma to the meditative silence of V.S. Gaitonde, from Sher-Gil’s empathetic women to Jamini Roy’s folk icons, NGMA preserves the voices of generations. 

Its paintings embody freedom, spirituality, tradition, and modernity—all interwoven into the larger story of a nation discovering itself through art. To walk through its halls is to witness not just art history but the very pulse of India.

References / Sources