text:
Discovery (law)
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The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (April 2013) (Learn how and when to remove this template message)
This article is missing information about discovery in criminal cases. Please expand the article to include this information. Further details may exist on the talk page. (March 2008)
Civil procedure
in the United States
Federal Rules of Civil Procedure
Doctrines of civil procedure
Jurisdiction
Subject-matter
(Federal-question
Diversity

Supplemental
Removal)
Personal
(In personam
In rem
Quasi in rem)
Venue
Change of venue
Forum non conveniens
Pleadings
Complaint
(Cause of action
Case Information Statement
Class action (2005 Act) )
Demurrer
Answer (affirmative defense)
Reply
Counterclaim
Crossclaim
Joinder
Indispensable party
Impleader
Interpleader
Intervention
Other motions
Pre-trial procedure
Discovery
Initial conference
Interrogatories
Depositions
Request for admissions
Request for production
Resolution without trial
Default judgment
Summary judgment
Voluntary dismissal
Involuntary dismissal
Settlement
Trial
Parties
plaintiff
defendant
Pro se
Jury (voir dire)
Burden of proof
Judgment
(As a matter of law (JMOL)
Renewed JMOL
Notwithstanding verdict (JNOV)
Motion to set aside
De novo (new trial) )
Remedy
(Injunction
Damages
Attorney's fee (American rule
English rule)
Declaratory judgment)
Appeal
Mandamus
Certiorari
v
t
e
Civil rights cases concluded in U.S. district courts, by disposition, 1990-2006.[1]
Discovery, in the law of the United States and other countries, is a pre-trial procedure in a lawsuit in which each party, through the law of civil procedure, can obtain evidence from the other party or parties by means of discovery devices such as a request for answers to interrogatories, request for production of documents, request for admissions and depositions. Discovery can be obtained from non-parties using subpoenas. When a discovery request is objected to, the requesting party may seek the assistance of the court by filing a motion to compel discovery.
Contents
[hide]
1 In the United States
1.1 At the federal level
1.1.1 District of Columbia
1.2 At the state level
1.2.1 Alabama
1.2.2 Alaska
1.2.3 Arizona
1.2.4 Arkansas
1.2.5 California
1.3 Criticism
2 In England and Wales
3 See also
4 References
5 External links
In the United States[edit]
Main article: Civil discovery under United States federal law
See also: Federal Rules of Civil Procedure
Under the law of the United States, civil discovery is wide-ranging and can involve any material which is "reasonably calculated to lead to admissible evidence." This is a much broader standard than relevance, because it contemplates the exploration of evidence which might be relevant, rather than evidence which is truly relevant. (Issues of the scope of relevance are taken care of before trial in motions in limine and during trial with objections.) Certain types of information are generally protected from discovery; these include information which is privileged and the work product of the opposing party. Other types of information may be protected, depending on the type of case and the status of the party. For instance, juvenile criminal records are generally not discoverable, peer review findings by hospitals in medical negligence cases are generally not discoverable and, depending on the case, other types of evidence may be non-discoverable for reasons of privacy, difficulty and/or expense in complying and for other reasons. (Criminal discovery rules may differ from those discussed here.) Electronic discovery or "e-discovery" refers to discovery of information stored in electronic format (often referred to as Electronically Stored Information, or ESI).
In practice, most civil cases in the United States are settled after discovery.[2] After discovery, both sides often are in agreement about the relative strength and weaknesses of each side's case and this often results in either a settlement or summary judgment, which eliminates the expense and risks of a trial.
At the federal level[edit]
Main article: Civil discovery under United States federal law
Discovery in the United States is unique compared to other common law countries. In the United States, discovery is mostly performed by the litigating parties themselves, with relatively minimal judicial oversight. The Federal Rules of Civil Procedure guide discovery in the U.S. federal court system. Most state courts follow a similar version based upon the FRCP, Chapter V "Depositions & Discovery" [1].
According to the Federal Rules of Civil Procedure, the plaintiff must initiate a conference between the parties after the complaint was served to the defendants, to plan for the discovery process.[3] The parties should attempt to agree on the proposed discovery schedule, and submit a proposed Discovery Plan to the court within 14 days after the conference.[3] After that, the main discovery process begins which includes: initial disclosures, depositions, interrogatories, request for admissions (RFA) and request for production of documents (RFP). In most federal district courts, the formal requests for interrogatories, request for admissions and request for production are exchanged between the parties and not filed with the court. Parties, however, can file motion to compel discovery if responses are not received within the FRCP time limit. Parties can file a motion for a protective order if the discovery requests become unduly burdensome or for purpose of harassment.
In criminal cases, a prosecuting attorney is required to disclose to a defendant any material which is exculpatory or impeaching. Brady v. Maryland, 373 U.S. 83 (1963).
District of Columbia[edit]
The District of Columbia follows the federal rules, with a few exceptions. Some deadlines are different, and litigants may only resort to the D.C. Superior Court. Forty interrogatories, including parts and sub-parts, may be propounded by one party on any other party. There is no requirement for a "privilege log": federal Rule 26(b)(5) was not adopted by the D.C. Superior Court. Where above is stated "litigants may only resort to the D.C. Superior Court" upon correction is found according to the District of Columbia Superior Court Rules of Civil Procedure Section 73(b)Judicial Review and Appeal which states: "Judicial review of a final order or judgment entered upon direction of a hearing commissioner is available on motion of a party to the Superior Court judge designated by the Chief Judge to conduct such reviews...After that review has been completed, appeal may be taken to the District of Columbia Court of Appeals." This rule basically implies that in a civil action, if a hearing commissioner is authorized by all parties to conduct the proceedings instead of a judge, upon a request for a review or appeal, the motion must first be reviewed by a Superior Court judge to the same standard as a motion for appeal on a Superior Court Judge to the Court of Appeals, but the right to appeal to the higher courts still remains.
At the state level[edit]
Many states have adopted discovery procedures based on the federal system; some closely adhere to the federal model, others not so closely. Some states take an entirely different approach to discovery. Many states have adopted the Uniform Interstate Depositions and Discovery Act to provide uniform process when discovery is to be done out of state.
Alabama[edit]
Alaska[edit]
In Alaska criminal courts, discovery is governed by Rule of Criminal Procedure 16 (Cr.R.16). The scope of discovery is broad and includes much more than is required by Brady v. Maryland, 373 U.S. 83 (1963). The discovery process is intended to provide adequate information for informed pleas, to expedite trial, minimize surprise, afford an opportunity for effective cross-examination, and meet the requirements of due process. To the extent possible, discovery prior to trial should be as full and free as possible, consistent with protection of persons, effective law enforcement, and the adversarial system.
A prosecuting attorney is required to disclose to the accused the following material, and to make it available for inspection and copying: (i) names and addresses of witnesses, (ii) written or recorded statements of the accused, (iii) written or recorded statements of a co-defendant, (iv) any books, papers, documents, photographs or tangible objects with the prosecutor intends to use at trial, (v) any prior criminal convictions of the defendant or any witness. In practice, this means that criminal defendants in Alaska are able to review any police report, lab report, audio/video recordings, witness statements, and more, before they proceed to trial. Most defendants will also have this material far enough in advance to have reviewed it before making a decision about any possible plea deal.
Arizona[edit]
Arkansas[edit]
California[edit]
In California state courts, discovery is governed by the Civil Discovery Act of 1986 (Title 4 (Sections 2016-2036) of the Code of Civil Procedure), as subsequently amended.[4] A significant number of appellate court decisions have interpreted and construed the provisions of the Act.
California written discovery generally consists of four methods: Request for Production of Documents, Form Interrogatories, Special Interrogatories, and Requests for Admissions.[5] Responses to California discovery requests are not continuing: the responding party only needs to respond with the facts as known on the date of the response, and is under no obligation to update its responses as new facts become known.[6] This causes many parties to reserve one or two interrogatories until the closing days of discovery, when they ask if any of the previous responses to discovery have changed, and then ask what the changes are. California depositions are not limited to one day, and objections must be made in detail or they are permanently waived. A party may only propound thirty-five written special interrogatories on any other single party unless the propounding party submits a "declaration of necessity".[7] No "subparts, or a compound, conjunctive, or disjunctive question" may be included in an interrogatory.[8] However, "form interrogatories" which have been approved by the state Judicial Council[9] do not count toward this limit. In addition, no "preface or instruction" may be included in the interrogatories unless it has been approved by the Judicial Council; in practice, this means that the only instructions permissible with interrogatories are the ones provided with the form interrogatories.
Criticism[edit]
The use of discovery has been criticized as favoring the wealthier side, in that it enables parties to drain each other's financial resources in a war of attrition. For example, one can make information requests, which are expensive and time-consuming for the other side to fulfill; produce hundreds of thousands[citation needed] of documents of questionable relevance to the case; file requests for protective orders to prevent the deposition of key witnesses; and so on. In a critique of the U.S. legal profession, attorney and writer Cameron Stracher described a variety of unpleasant tactics common in the United States, and concluded:
“ With the noble sentiment of "levelling the playing field" so that no party has an undue information advantage, the writers of the discovery rules created a multilevel playing field where the information-rich can kick the information-poor in the head and escape unscathed. "Discovery" is anything but ... Hundreds of thousands of dollars to maintain the status quo, to preserve the information-rich at the expense of the information-poor. Thousands of lawyer hours to keep the discovery process as unrevealing as possible. The best minds of a generation thinking of new ways to manipulate, distort, and conceal.[10] ”
Tort reform supporters argue that such tactics are often used by plaintiffs' lawyers to impose costs on defendants to force settlements in unmeritorious cases to avoid the cost of discovery.[11]
In England and Wales[edit]
This section needs expansion. You can help by adding to it. (August 2010)
The same process in the jurisdiction of England and Wales has been known as "disclosure" since the reforms to civil procedure introduced by Lord Justice Woolf in 1999.
Disclosure is for many types of cause of action (but not for example Personal Injury which has its own additional Parts of procedure rules to follow) governed by Part 31 of the Civil Procedure Rules (CPR), and its linked Practice Direction (PD) 31B. As in the United States, certain documents are privileged, such as letters between solicitors and experts. Full details are given in legal professional privilege (England & Wales).
See also[edit]
Early case assessment
Second request
subpoena ad testificandum
subpoena duces tecum
References[edit]
Jump up ^ "Civil rights cases concluded in U.S. district courts, by disposition, 1990-2006" (PDF).
Jump up ^ "Civil Rights Complaints in U.S. District Courts" (PDF).
^ Jump up to: a b "FRCP Rule 26".
Jump up ^ See http://www.leginfo.ca.gov/cgi-bin/calawquery?codesection=ccp&codebody=&hits=20.
Jump up ^ Cal. Code Civ. Proc., § 2019.010
Jump up ^ Singer v. Sup. Ct., 54 Cal.2d 318, 325 (1960).
Jump up ^ Cal. Code Civ. Proc., § 2030.030
Jump up ^ Cal. Code Civ. Proc., § 2030.060
Jump up ^ E.g., http://www.courtinfo.ca.gov/forms/documents/disc001.pdf
Jump up ^ Cameron Stracher, Double Billing: A Young Lawyer's Tale of Greed, Sex, Lies, and the Pursuit of a Swivel Chair (New York: William Morrow, 1998), 125–126.
Jump up ^ Ramseyer, J. Mark (2015). Second-Best Justice: The Virtues of Japanese Private Law. Chicago, IL: University of Chicago Press. ISBN 978-0-226-28199-5. Faced with grinding discovery demands that distract employees from operating the business, even blameless defendants settle.
External links[edit]
Federal Rules of Civil Procedure: Depositions and Discovery
Retrieved from "https://en.wikipedia.org/w/index.php?title=Discovery_(law)&oldid=798775859"
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text:
Climate of Dallas
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is part of a series on the
City of Dallas
History
Timeline
Territorial (–1838)
Settlement (1839–55)
Early Existence (1856–73)
Industrial Period (1874–1929)
Oil Period (1930–45)
Mid Century (1946–74)
Real Estate Boom (1975–85)
Recession (1986–95)
Modern Period (1996–)
Law and government
Culture
Climate
Demographics
Education
Transportation
Dallas – Fort Worth portal
v
t
e
Dallas
Climate chart (explanation)
J F M A M J J A S O N D
2.1
57
37
2.6
61
41
3.5
69
49
3.1
77
56
4.9
84
65
4.1
92
73
2.2
96
77
1.9
96
77
2.8
89
69
4.8
79
58
2.9
67
48
2.7
58
39
Average max. and min. temperatures in °F
Precipitation totals in inches
Source: NOAA[1]
[show]Metric conversion
J F M A M J J A S O N D
53
14
3
66
16
5
89
20
9
78
25
13
125
29
19
104
33
23
56
36
25
47
36
25
72
32
21
122
26
15
73
20
9
70
14
4
Average max. and min. temperatures in °C
Precipitation totals in mm
The city of Dallas has a humid subtropical climate (Köppen climate classification: Cfa) that is characteristic of the Southern Plains of the United States. Dallas experiences distinct four seasons with mild winters and hot summers. July and August are typically the hottest months, with an average low of 76.7 °F (25 °C) and an average high of 96.0 °F (36 °C). January is typically the coldest month, with an average low of 37.3 °F (3 °C) and an average high of 56.8 °F (14 °C). Located at the lower-end of the Tornado Alley, it is often prone to storms.
A couple of times each year, warm and humid air from the south overrides cold, dry air, leading to freezing rain, which often causes major disruptions in the city if the roads and highways become slick. On the other hand, daytime highs above 65 °F (18 °C) are not unusual during the winter season. Extremes in weather are more readily seen in Dallas and Texas as a whole than along the Pacific and Atlantic coasts, due to the state's location in the interior of the United States.
Spring and autumn bring pleasant weather to the area. Vibrant wildflowers (such as the bluebonnet, Indian paintbrush and other flora) bloom in spring and are planted around the highways throughout Texas.[2] Springtime weather can be quite volatile, but temperatures themselves are mild. The weather in Dallas is also generally pleasant between late September and early December, and unlike springtime, major storms rarely form in the area.
In the spring, cool fronts moving south from Canada collide with warm, humid air streaming in from the Gulf Coast. When these fronts meet over north central Texas, severe thunderstorms are generated with spectacular lightning shows, torrents of rain, hail, and occasionally, tornadoes. Over time, tornadoes have perhaps been the biggest natural threat to the city.
Summers are hot, with temperatures approaching those of desert and semidesert locations of similar latitude. Heat waves can be severe. During the summer, the region receives warm and dry winds from the north and west.
The U.S. Department of Agriculture places Dallas in Plant Hardiness Zone 8a.[3][4] According to the American Lung Association, Dallas has the 12th highest ozone air pollution in the nation, ranking it behind Los Angeles and Houston.[5] 30% of the air pollution in Dallas, and the Metroplex in general, comes from the three cement plants in the town of Midlothian, as well concrete installations in neighboring Ellis County,[6] but the foremost contributor to air pollution in Dallas is exhaust from automobiles. Due to the area's spread-out nature and high amount of urban sprawl, automobiles are the only viable mode of transportation for many residents in the metropolitan area.[citation needed]
The city's all-time recorded high temperature is 113 °F (45 °C) during the Heat Wave of 1980, while the all-time recorded low is −8 °F (−22 °C) 1899. The average daily low in Dallas is 57.1 °F (13.9 °C) and the average daily high in Dallas is 76.7 °F (24.8 °C). Dallas receives approximately 37.1 inches (942 mm) of equivalent rain per year.
The spring and fall seasons are pleasant in Dallas, as seen in this March photograph from an Oak Cliff park
Contents
[hide]
1 Monthly normals and record temperatures
2 Volatile weather
2.1 Tornadoes
2.2 Floods
3 El Niño–Southern Oscillation
4 Notes
5 References
Monthly normals and record temperatures[edit]
[show]Climate data for Dallas (Love Field), 1981–2010 normals,[a] extremes 1913–present[b]
Month
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
Sep
Oct
Nov
Dec
Year
Record high °F (°C)
88
(31) 95
(35) 97
(36) 100
(38) 103
(39) 112
(44) 111
(44) 111
(44) 110
(43) 100
(38) 89
(32) 89
(32) 112
(44)
Mean maximum °F (°C)
76.4
(24.7) 80.2
(26.8) 85.6
(29.8) 89.4
(31.9) 95.2
(35.1) 98.2
(36.8) 103.0
(39.4) 103.9
(39.9) 98.8
(37.1) 92.3
(33.5) 82.9
(28.3) 76.8
(24.9) 105.0
(40.6)
Average high °F (°C)
56.8
(13.8) 60.8
(16) 68.7
(20.4) 76.7
(24.8) 84.2
(29) 91.6
(33.1) 96.0
(35.6) 96.4
(35.8) 88.7
(31.5) 78.5
(25.8) 67.1
(19.5) 57.5
(14.2) 76.9
(24.9)
Average low °F (°C)
37.3
(2.9) 41.1
(5.1) 48.5
(9.2) 56.2
(13.4) 65.4
(18.6) 72.8
(22.7) 76.7
(24.8) 76.8
(24.9) 69.0
(20.6) 58.2
(14.6) 47.6
(8.7) 38.5
(3.6) 57.3
(14.1)
Mean minimum °F (°C)
21.7
(−5.7) 24.3
(−4.3) 30.5
(−0.8) 40.2
(4.6) 52.1
(11.2) 63.0
(17.2) 69.7
(20.9) 68.5
(20.3) 53.8
(12.1) 42.3
(5.7) 31.3
(−0.4) 22.9
(−5.1) 16.7
(−8.5)
Record low °F (°C)
−3
(−19) 2
(−17) 11
(−12) 30
(−1) 39
(4) 53
(12) 56
(13) 57
(14) 36
(2) 26
(−3) 17
(−8) 1
(−17) −3
(−19)
Average precipitation inches (mm)
2.06
(52.3) 2.59
(65.8) 3.49
(88.6) 3.07
(78) 4.92
(125) 4.11
(104.4) 2.21
(56.1) 1.87
(47.5) 2.84
(72.1) 4.79
(121.7) 2.88
(73.2) 2.74
(69.6) 37.57
(954.3)
Average snowfall inches (cm)
0.5
(1.3) 0.6
(1.5) 0.1
(0.3) 0
(0) 0
(0) 0
(0) 0
(0) 0
(0) 0
(0) 0
(0) trace 0.3
(0.8) 1.5
(3.8)
Average precipitation days (≥ 0.01 in)
6.7 6.5 7.6 6.7 9.7 8.0 4.9 4.6 5.3 7.5 6.6 6.6 80.7
Average snowy days (≥ 0.1 in)
0.5 0.2 0.2 0 0 0 0 0 0 0 0.1 0.3 1.3
Average relative humidity (%)
67.5 66.4 63.7 65.3 69.7 65.8 59.8 59.5 66.5 65.7 67.4 67.5 65.4
Mean monthly sunshine hours
183.5 178.3 227.7 236.0 258.4 297.8 332.4 304.5 246.2 228.1 183.8 173.0 2,849.7
Percent possible sunshine
58 58 61 61 60 69 76 74 66 65 59 56 64
Source: NOAA (sun and relative humidity 1961–1990 at DFW Airport)[c][8][1][9]
Volatile weather[edit]
Tornadoes[edit]
A multiple-vortex tornado outside of Dallas, Texas on April 2, 1957.
Since Dallas lies at the lower end of the "Tornado Alley", tornadoes are perhaps the biggest threat to the city. Dallas was hit by a powerful tornado on 2 April 1957. The tornado would have likely been an F3.[10] On March 28, 2000, the “Fort Worth Tornado” impacted Dallas's neighbor Fort Worth's downtown, and a tornado in Arlington, Texas also occurred that day damaging some homes. That day was the Metroplex's most damaging tornado outbreak since the 1957 event. Another widespread tornado outbreak struck the area in the Dallas tornado outbreak of April 3, 2012, slightly damaging Rangers Ballpark in Arlington and damaging some planes and grounding the others at Dallas-Fort Worth International Airport and Dallas Love Field, heavily damaging an elementary school, and destroying semis in a facility. On December 26, 2015, a rare winter tornado outbreak led to spawning several tornadoes, including an EF-4 tornado near the city of Garland and Rowlett that caused 10 deaths.
Floods[edit]
Major flooding occurred on the Trinity River in the years 1844, 1866, 1871, and 1890, but a major event in the spring of 1908 set in motion the harnessing of the river. On 26 May 1908, the Trinity River reached a depth of 52.6 feet (16.03 m) and a width of 1.5 miles (2.4 km).[11] Five people died, 4,000 were left homeless, and property damages were estimated at $2.5 million.
“ Now the wreckage of a shed or outhouse would move by, followed by a drowned swine or other livestock. The construction forces of the Texas & Pacific worked feverishly to safeguard the long trestle carrying their tracks across the stream. Suddenly this whole structure turned on its side down-stream, broke loose from the rest of the track at one end and swung out into the middle of the current and began breaking up, first into large sections and then into smaller pieces, rushing madly along to some uncertain destination. [Approximately half a dozen of the workmen fell into the torrent at this point; exaggerated reports of their drowning swept the city.] ”
— C.L. Moss, [11]
Dallas was without power for three days, all telephone and telegraph service was down, and rail service was canceled. The only way to reach Oak Cliff was by boat.[12] West Dallas was hit harder than any other part of the city—the Dallas Times Herald said "indescribable suffering" plagued the area. Much to the horror of residents, thousands of livestock drowned in the flood and some became lodged in the tops of trees—the stench of their decay hung over the city as the water subsided.[11]
The Trinity River flooding on 8 July 1908.
After the disastrous flood, the city wanted to find a way to control the reckless Trinity and to build a bridge linking Oak Cliff and Dallas. The immediate reaction was citizens and the city clamoring to build an indestructible, all-weather crossing over the Trinity. This had already been tried following the 1890 flood—the result was the "Long Wooden Bridge" that connected Jefferson Boulevard in Oak Cliff and Cadiz in Dallas, but the resulting unstable bridge was easily washed away by the 1908 flood. George B. Dealey, publisher of the Dallas Morning News, proposed a 1.5 miles (2.4 km) concrete bridge based on a bridge crossing the Missouri River in Kansas City. Ultimately a US$650,000 bond election was approved and in 1912, the Oak Cliff viaduct (now the Houston Street viaduct) was opened among festivities drawing 58,000 spectators. The bridge, at the time, was the longest concrete structure in the world.[11]
In May 2015, the Dallas-Fort Worth Airport received a record-shattering 16.96 inches of rainfall, in a month that obliterated heavy-rainfall records virtually throughout the Southern Plains (Texas and Oklahoma, especially). Strangely enough, a very hot, dry summer followed, resulting in some parts of Texas returning to abnormally dry conditions as early as July 2015, soon after the record May rains erased years-long drought conditions over the area.
El Niño–Southern Oscillation[edit]
The El Niño–Southern Oscillation (ENSO) determines for the most part what the winter and spring months are like in Dallas. During the warm phase, El Niño, winter and spring are colder and receive more snow than usual. Under the cold phase, La Niña, winter and spring are warmer and receive less snow.
Notes[edit]
Jump up ^ Mean monthly maxima and minima (i.e. the expected highest and lowest temperature readings at any point during the year or given month) calculated based on data at said location from 1981 to 2010.
Jump up ^ Official records for Dallas were kept at the Weather Bureau Office in downtown from 15 October 1913 to August 1940, and at Love Field since September 1940.[7]
Jump up ^ Sunshine normals are based on only 24 years of data.
References[edit]
Dallas portal
^ Jump up to: a b "NOWData - NOAA Online Weather Data". National Oceanic & Atmospheric Administration. Retrieved 2016-04-17.
Jump up ^ TXDOT - Wildflower and Fall Foliage Archived April 8, 2007, at the Wayback Machine.. Retrieved on 17 April 2007.
Jump up ^ "Texas USDA Hardiness Zone Map". Retrieved 2010-11-28.
Jump up ^ USNA - USDA Archived 2008-07-08 at the Wayback Machine. Plant Hardiness Zone Map: South-Midwest US. Retrieved on 13 June 2006.
Jump up ^ Lungusa.com Archived 2009-05-29 at the Wayback Machine.. Retrieved on 2 March 2006.
Jump up ^ Downwindersatrisk.org - Pollution in Midlothian Archived 2015-08-10 at the Wayback Machine.. Retrieved on 17 April 2006.
Jump up ^ ThreadEx
Jump up ^ "Station Name: TX DALLAS LOVE FLD". National Oceanic & Atmospheric Administration. January 2013. Retrieved 2014-03-27.
Jump up ^ "WMO Climate Normals for FORT WORTH/GREATER SW INT'L A,TX 1961–1990". National Oceanic and Atmospheric Administration. Retrieved 2014-03-10.
Jump up ^ Stormtrack.org - APRIL 2, 1957: DALLAS'S DATE WITH DISASTER Archived December 30, 2013, at the Wayback Machine.. Retrieved on 17 April 2006.
^ Jump up to: a b c d Payne, Darwin (1982). "Chapter V: A New Century, A New Dallas". Dallas, an illustrated history. Woodland Hills, California: Windsor Publications. pp. 119–155. ISBN 0-89781-034-1.
Jump up ^ Dallas Historical Society - Dallas History Archived 2006-04-22 at the Wayback Machine.. Retrieved 20 April 2006.
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Indian painting
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Indian paintings
Painting of Radha, the companion of the Hindu god Krishna.
Fresco from Ajanta caves, c. 450–500 CE.
Raja Ravi Varma Shakuntala (1870); oil on canvas.
Hindu iconography are shown in Pattachitra.
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Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka rock shelters, some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 30,000 years old.[1] India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals. Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian roots.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Contents
[hide]
1 Shadanga of Indian painting
2 Genres of Indian painting
3 Murals
4 Eastern India painting
5 Western Indian Miniature Painting
6 Malwa, Deccan and Jaunpur schools of painting
7 Mughal painting
8 Rajput painting
9 Mysore painting
10 Tanjore painting
11 Kangra painting
12 Madhubani painting
13 Pattachitra
14 Bengal school
15 Contextual Modernism
16 Vernacular Indian Painting
17 Modern Indian Painting
18 Gallery
19 Some notable Indian paintings
20 See also
21 Notes
22 Further reading
23 External links
Shadanga of Indian painting[edit]
Around the 1st century BC the Shadanga or Six Limbs of Indian Painting, were evolved, a series of canons laying down the main principles of the art.[2] Vatsyayana, who lived during the third century A.D., enumerates these in his Kamasutra having extracted them from still more ancient works.
These 'Six Limbs' have been translated as follows:[2]
Rupabheda The knowledge of appearances.
Pramanam Correct perception, measure and structure.
Bhava Action of feelings on forms.
Lavanya Yojanam Infusion of grace, artistic representation.
Sadrisyam Similitude.
Varnikabhanga Artistic manner of using the brush and colours. (Tagore.)
The subsequent development of painting by the Buddhists indicates that these ' Six Limbs ' were put into practice by Indian artists, and are the basic principles on which their art was founded.
Genres of Indian painting[edit]
Painting of Mysore style during Tippu Sultan period
Indian paintings can be broadly classified as murals and miniatures. Murals are large works executed on the walls of solid structures, as in the Ajanta Caves and the Kailashnath temple. Miniature paintings are executed on a very small scale for books or albums on perishable material such as paper and cloth. The Palas of Bengal were the pioneers of miniature painting in India. The art of miniature painting reached its glory during the Mughal period. The tradition of miniature paintings was carried forward by the painters of different Rajasthani schools of painting like the Bundi, Kishangarh, Jaipur, Marwar and Mewar. The Ragamala paintings also belong to this school, as does the Company painting produced for British clients under the British Raj.
Ancient Indian art has seen the rise of the Bengal School of art in 1930s followed by many forms of experimentations in European and Indian styles. In the aftermath of India's independence, many new genres of art developed by important artists like Jamini Roy, M. F. Husain, Francis Newton Souza, and Vasudeo S. Gaitonde. With the progress of the economy the forms and styles of art also underwent many changes. In the 1990s, Indian economy was liberalised and integrated to the world economy leading to the free flow of cultural information within and without. Artists include Subodh Gupta, Atul Dodiya, Devajyoti Ray, Bose Krishnamachari and Jitish Kahllat whose works went for auction in international markets. Bharti Dayal has chosen to handle the traditional Mithila painting in most contemporary way and created her own style through the exercises of her own imagination, they appear fresh and unusual.
Murals[edit]
A mural painting depicting a scene from Mahajanaka Jataka, Cave 1, Ajanta
The history of Indian murals starts in ancient and early medieval times, from the 2nd century BC to 8th – 10th century AD. There are known more than 20 locations around India containing murals from this period, mainly natural caves and rock-cut chambers. The highest achievements of this time are the caves of Ajanta, Bagh, Sittanavasal, Armamalai Cave (Tamil Nadu), Ravan Chhaya rock shelter, Kailasanatha temple in Ellora Caves.
Murals from this period depict mainly religious themes of Buddhist, Jain and Hindu religions. There are though also locations where paintings were made to adorn mundane premises, like the ancient theatre room in Jogimara Cave and possible royal hunting lodge circa 7th-century AD – Ravan Chhaya rock shelter.
The pattern of large scale wall painting which had dominated the scene, witnessed the advent of miniature paintings during the 11th and 12th centuries. This new style figured first in the form of illustrations etched on palm-leaf manuscripts. The contents of these manuscripts included literature on Buddhism and Jainism. In eastern India, the principal centres of artistic and intellectual activities of the Buddhist religion were Nalanda, Odantapuri, Vikramshila and Somarpura situated in the Pala kingdom (Bengal and Bihar).
Eastern India painting[edit]
In eastern India miniature painting developed in the 10th century. These miniatures, depicting Buddhist divinities and scenes from the life of Buddha were painted on the leaves (about 2.25 by 3 inches) of the palm-leaf manuscripts as well as their wooden covers. Most common Buddhist illustrated manuscripts include the texts Astasahasrika Prajnaparamita,[3] Pancharaksa, Karandavyuha and Kalachakra Tantra. The earliest extant miniatures are found in a manuscript of the Astasahasrika Prajnaparamita dated in the sixth regnal year of Mahipala (c. 993), presently the possession of The Asiatic Society, Kolkata. This style disappeared from India in the late 12th century.
Western Indian Miniature Painting[edit]
Miniatures paintings are beautiful handmade paintings, which are quite colorful but small in size. The highlight of these paintings is the intricate and delicate brushwork, which lends them a unique identity. The colors are handmade, from minerals, vegetables, precious stones, indigo, conch shells, pure gold and silver. The evolution of Indian Miniatures paintings started in the Western Himalayas, around the 17th centuryMiniatures paintings are beautiful handmade paintings, which are quite colorful but small in size. The highlight of these paintings is the intricate and delicate brushwork, which lends them a unique identity. The colors are handmade, from minerals, vegetables, precious stones, indigo, conch shells, pure gold and silver. The evolution of Indian Miniatures paintings started in the Western Himalayas, around the 17th century
The subjects of these miniature paintings are in relation to the subjects of the manuscripts mostly religious and literary. Many paintings are from Sanskrit and folk literature. It is on the subject of love stories. Some paintings from Vaishnav sect of Hindu religion and some are from Jain sect. The Paintings of Vaishnav sect are regarding various occasions of the life of Lord Krishna and Gopies. Vaishnav paintings of "Gita Govinda" is about Lord Krishna. The paintings of Jain sect is concerning to Jain Lords and religious subjects.
These paintings were created on "Taadpatra" that means the leaf of the palm tree, and Paper. During that period earlier manuscripts were created from the leaf of the palm tree and later on from the paper.
In these paintings there are very few human characters with front face are seen. Most of the human characters are seen with side profile. Big eyes, pointed nose and slim waist are the features of these paintings. The skin colours of human being are Brown and fair. The skin colour of the Lord Krishna is Blue. The colour of the hair and eyes is black. Women characters have long hair. Human characters have worn jewellery on the hand, nose, neck, hair, waist and ankles. Men and women wear the traditional Indian dress, slippers and shoes. Men wear turbans on their head. In these paintings trees, rivers, flowers, birds, the land, the sky, houses, traditional chairs, cushions, curtains, lamps, and human characters have been painted.
Mostly Natural colours have been used in these paintings. Black, red, white, brown, blue, and yellow colours are used to decorate the paintings.
The Kings, Courtiers of the kings, wealthy businessmen, and religious leaders of the time were the promoters of these miniature paintings.
Painters of these pictures were from the local society." Vaachhak " was the famous painter of the time.Painters tried to make the subject of the manuscript live by these pictures so that the readers of the manuscript can enjoy reading.
Malwa, Deccan and Jaunpur schools of painting[edit]
A new trend in manuscript illustration was set by a manuscript of the Nimatnama painted at Mandu, during the reign of Nasir Shah (1500–1510). This represent a synthesis of the indigenous and the patronized Persian style, though it was the latter which dominated the Mandu manuscripts.[citation needed] There was another style of painting known as Lodi Khuladar that flourished in the Sultanate's dominion of North India extending from Delhi to Jaunpur.[citation needed]
The miniature painting style, which flourished initially in the Bahmani court and later in the courts of Ahmadnagar, Bijapur and Golkonda is popularly known as the Deccan school of Painting.[citation needed] One of the earliest surviving paintings are found as the illustrations of a manuscript Tarif-i-Hussain Shahi (c.1565), which is now in Bharata Itihasa Samshodhaka Mandala, Pune. About 400 miniature paintings are found in the manuscript of Nujum-ul-Ulum (Stars of Science) (1570), kept in Chester Beatty Library, Dublin.
Mughal painting[edit]
Main article: Mughal painting
A 17th-century Mughal painting
Mughal painting is a particular style of Indian painting, generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the Mughal Empire 16th −19th centuries.
Mughal paintings were a unique blend of Indian, Persian and Islamic styles. Because the Mughal kings wanted visual records of their deeds as hunters and conquerors, their artists accompanied them on military expeditions or missions of state, or recorded their prowess as animal slayers, or depicted them in the great dynastic ceremonies of marriages.
Akbar's reign (1556–1605) ushered a new era in Indian miniature painting. After he had consolidated his political power, he built a new capital at Fatehpur Sikri where he collected artists from India and Persia. He was the first monarch who established in India an atelier under the supervision of two Persian master artists, Mir Sayyed Ali and Abdus Samad. Earlier, both of them had served under the patronage of Humayun in Kabul and accompanied him to India when he regained his throne in 1555. More than a hundred painters were employed, most of whom were Hindus from Gujarat, Gwalior and Kashmir, who gave a birth to a new school of painting, popularly known as the Mughal School of miniature Paintings.
A folio from the Hamzanama
One of the first productions of that school of miniature painting was the Hamzanama series, which according to the court historian, Badayuni, was started in 1567 and completed in 1582. The Hamzanama, stories of Amir Hamza, an uncle of the Prophet, were illustrated by Mir Sayyid Ali. The paintings of the Hamzanama are of large size, 20 x 27" and were painted on cloth. They are in the Persian safavi style. Brilliant red, blue and green colours predominate; the pink, eroded rocks and the vegetation, planes and blossoming plum and peach trees are reminiscent of Persia. However, Indian tones appear in later work, when Indian artists were employed.
After him, Jahangir encouraged artists to paint portraits and durbar scenes. His most talented portrait painters were Ustad Mansur, Abul Hasan and Bishandas.
Shah Jahan (1627–1658) continued the patronage of painting. Some of the famous artists of the period were Mohammad Faqirullah Khan, Mir Hashim, Muhammad Nadir, Bichitr, Chitarman, Anupchhatar, Manohar and Honhar.
Aurangzeb had no taste for fine arts. Due to lack of patronage artists migrated to Hyderabad in the Deccan and to the Hindu states of Rajasthan in search of new patrons.
Rajput painting[edit]
Main article: Rajput painting
An 18th-century Rajput painting by the artist Nihâl Chand
Rajput painting, a style of Indian painting, evolved and flourished, during the 18th century, in the royal courts of Rajputana, India. Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna's life, beautiful landscapes, and humans. Miniatures were the preferred medium of Rajput painting, but several manuscripts also contain Rajput paintings, and paintings were even done on the walls of palaces, inner chambers of the forts, havelies, particularly, the havelis of Shekhawati.
The colours extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones, gold and silver were used. The preparation of desired colours was a lengthy process, sometimes taking weeks. Brushes used were very fine.
Mysore painting[edit]
Main article: Mysore painting
A painting of Laxmi
Mysore painting is an important form of classical South Indian painting that originated in the town of Mysore in Karnataka. These paintings are known for their elegance, muted colours and attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu mythology. In modern times, these paintings have become a much sought-after souvenir during festive occasions in South India.
The process of making a Mysore painting involves many stages. The first stage involves the making of the preliminary sketch of the image on the base. The base consists of cartridge paper pasted on a wooden base. A paste made of zinc oxide and arabic gum is made called "gesso paste". With the help of a thin brush all the jewellery and parts of throne or the arch which have some relief are painted over to give a slightly raised effect of carving. This is allowed to dry. On this thin gold foil is pasted. The rest of the drawing is then painted using watercolours. Only muted colours are used.
Tanjore painting[edit]
Main article: Tanjore painting
Tanjore style painting depicting the ten Sikh Gurus with Bhai Bala and Bhai Mardana.
Tanjore painting is an important form of classical South Indian painting native to the town of Tanjore in Tamil Nadu. The art form dates back to the early 9th century, a period dominated by the Chola rulers, who encouraged art and literature. These paintings are known for their elegance, rich colours, and attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu mythology. In modern times, these paintings have become a much sought-after souvenir during festive occasions in South India.
The process of making a Tanjore painting involves many stages. The first stage involves the making of the preliminary sketch of the image on the base. The base consists of a cloth pasted over a wooden base. Then chalk powder or zinc oxide is mixed with water-soluble adhesive and apply it on the base. To make the base smoother, a mild abrasive is sometimes used. After the drawing is made, decoration of the jewelry and the apparels in the image is done with semi-precious stones. Laces or threads are also used to decorate the jewelry. On top of this, the gold foils are pasted. Finally, dyes are used to add colours to the figures in the paintings.
Kangra painting[edit]
Main article: Kangra painting
This style originated in Guler State, in the first half of the 18th century and reached its zenith during the reign of Maharaja Sansar Chand Katoch.
Madhubani painting[edit]
Main article: Madhubani painting
Madhubani painting is a style of painting, practised in the Mithila region of Bihar state[4]. Themes revolve around Hindu Gods and mythology, along with scenes from the royal court and social events like weddings. Generally no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.In this paintings, artists use leaves, herbs, and flowers to make the colour which is used to draw the paintings.
Pattachitra[edit]
Main article: Pattachitra
Gita Govinda depicted in Pattachitra
Pattachitra refers to the Classical painting of Odisha, in the eastern region of India.'Patta' in Sanskrit means 'Vastra' or 'clothings' and 'chitra' means paintings.The tradition of Pattachitra is closely linked with the worship of Lord Jagannath. Apart from the fragmentary evidence of paintings on the caves of Khandagiri and Udayagiri and Sitabhinji murals of the Sixth century A.D., the earliest indigenous paintings from Odisha are the Pattachitra done by the Chitrakars (the painters are called Chitrakars).[5] The theme of Oriya painting centres round the Vaishnava sect. Since beginning of Pattachitra culture Lord Jagannath who was an incarnation of Lord Krishna was the major source of inspiration. The subject matter of Patta Chitra is mostly mythological, religious stories and folk lore. Themes are chiefly on Lord Jagannath and Radha-Krishna, different "Vesas" of Jagannath, Balabhadra and Subhadra, temple activities, the ten incarnations of Vishnu basing on the 'Gita Govinda' of Jayadev, Kama Kujara Naba Gunjara, Ramayana, Mahabharata. The individual paintings of gods and goddesses are also being painted.The painters use vegetable and mineral colours without going for factory made poster colours. They prepare their own colours. White colour is made from the conch-shells by powdering, boiling and filtering in a very hazardous process. It requires a lot of patience. But this process gives brilliance and premanence to the hue. 'Hingula', a mineral colour, is used for red. 'Haritala', king of stone ingredients for yellow, 'Ramaraja' a sort of indigo for blue are being used. Pure lamp-black or black prepared from the burning of cocoanut shells are used.The brushes that are used by these 'Chitrakaras' are also indigenous and are made of hair of domestic animals. A bunch of hair tied to the end of a bamboo stick make the brush. It is really a matter of wonder as to how these painters bring out lines of such precision and finish with the help of these crude brushes. That old tradition of Oriya painting still survives to-day in the skilled hands of Chitrakaras (traditional painters) in Puri, Raghurajpur, Paralakhemundi, Chikiti and Sonepur.
Bengal school[edit]
Main article: Bengal school of art
Bharat Mata by Abanindranath Tagore (1871–1951), a nephew of the poet Rabindranath Tagore, and a pioneer of the movement
The Bengal School of Art was an influential style of art that flourished in India during the British Raj in the early 20th century. It was associated with Indian nationalism, but was also promoted and supported by many British arts administrators.
The Bengal school arose as an avant garde and nationalist movement reacting against the academic art styles previously promoted in India, both by Indian artists such as Ravi Varma and in British art schools. Following the widespread influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havel attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures. This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Abanindranath Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations. Tagore later attempted to develop links with Far-Eastern artists as part of an aspiration to construct a pan-Asianist model of art. Those associated with this Indo-FarEastern model included Nandalal Bose, Mukul Dey, Kalipada Ghoshal, Benode Behari Mukherjee, Vinayak Shivaram Masoji, B.C. Sanyal, Beohar Rammanohar Sinha, and subsequently their students A. Ramachandran, Tan Yuan Chameli, Ramananda Bandopadhyay and a few others.
Bengal Women, painted around 1950 by Manishi Dey
The Bengal school's influence on Indian art scene gradually started alleviating with the spread of modernist ideas post-independence.K. G. Subramanyan's role in this movement is significant. Today The Rednova Art Academy of Bankura, India is also notable art academy established by Artist Abirlal.
Contextual Modernism[edit]
Main article: Santiniketan: The Making of a Contextual Modernism
The term Contextual Modernism that Siva Kumar used in the catalogue of the exhibition has emerged as a postcolonial critical tool in the understanding of the art the Santiniketan artists had practised.
Several terms including Paul Gilroy’s counter culture of modernity and Tani Barlow's Colonial modernity have been used to describe the kind of alternative modernity that emerged in non-European contexts. Professor Gall argues that ‘Contextual Modernism’ is a more suited term because “the colonial in colonial modernity does not accommodate the refusal of many in colonised situations to internalise inferiority. Santiniketan’s artist teachers’ refusal of subordination incorporated a counter vision of modernity, which sought to correct the racial and cultural essentialism that drove and characterised imperial Western modernity and modernism. Those European modernities, projected through a triumphant British colonial power, provoked nationalist responses, equally problematic when they incorporated similar essentialisms.”[6]
According to R. Siva Kumar "The Santiniketan artists were one of the first who consciously challenged this idea of modernism by opting out of both internationalist modernism and historicist indigenousness and tried to create a context sensitive modernism."[7] He had been studying the work of the Santiniketan masters and thinking about their approach to art since the early 80s. The practice of subsuming Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee under the Bengal School of Art was, according to Siva Kumar, misleading. This happened because early writers were guided by genealogies of apprenticeship rather than their styles, worldviews, and perspectives on art practice.[7]
The literary critic Ranjit Hoskote while reviewing the works of contemporary artist Atul Dodiya writes, "The exposure to Santinketan, through a literary detour, opened Dodiya’s eyes to the historical circumstances of what the art historian R Siva Kumar has called a “contextual modernism” developed in eastern India in the 1930s and ’40s during the turbulent decades of the global Depression, the Gandhian liberation struggle, the Tagorean cultural renaissance and World War II."[8]
Contextual Modernism in the recent past has found its usage in other related fields of studies, specially in Architecture.[9]
Vernacular Indian Painting[edit]
Vernacular art is an art alive (contemporary art), based on the past (the mythes, the traditions and the religion) and made by defined groups. Vernacular art is based on the collective memory of this group.
Examples of Vernacular Indian Painting:
Tribal Painting:
Bhil painting
Warli painting
Gond painting
Santhal painting
Saora painting
Kurumba painting
Rural Painting:
Pattachitra painting
Madhubani painting
Kalamkari painting
Kolam painting
Kalam painting
Mandana Paintings
Modern Indian Painting[edit]
Main article: Modern Indian painting
During the colonial era, Western influences started to make an impact on Indian art. Some artists developed a style that used Western ideas of composition, perspective and realism to illustrate Indian themes. Others, like Jamini Roy, consciously drew inspiration from folk art.Bharti Dayal has chosen to handle the traditional Mithila Painting in most contemporary way and uses both realism as well abstractionism in her work with a lot of fantasy mixed in to both .Her work has an impeccable sense of balance, harmony and grace.
By the time of Independence in 1947, several schools of art in India provided access to modern techniques and ideas. Galleries were established to showcase these artists. Modern Indian art typically shows the influence of Western styles, but is often inspired by Indian themes and images. Major artists are beginning to gain international recognition, initially among the Indian diaspora, but also among non-Indian audiences.
The Progressive Artists' Group, established shortly after India became independent in 1947, was intended to establish new ways of expressing India in the post-colonial era. The founders were six eminent artists – K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and F. N. Souza, though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, Beohar Rammanohar Sinha and Akbar Padamsee. Other famous painters like Jahar Dasgupta, Prokash Karmakar, John Wilkins, and Bijon Choudhuri enriched the art culture of India. They have become the icon of modern Indian art. Art historians like Prof. Rai Anand Krishna have also referred to those works of modern artistes that reflect Indian ethos.
Also, the increase in the discourse about Indian art, in English as well as vernacular Indian languages, appropriated the way art was perceived in the art schools. Critical approach became rigorous, critics like Geeta Kapur,[10][11] R . Siva Kumar,[12][13][14][15] contributed to re-thinking contemporary art practice in India.Their voices represented Indian art not only in India but across the world. The critics also had an important role as curators of important exhibitions, re-defining modernism and Indian-art.
Indian Art got a boost with the economic liberalisation of the country since the early 1990s. Artists from various fields now started bringing in varied styles of work. Post-liberalisation Indian art thus works not only within the confines of academic traditions but also outside it. In this phase, artists have introduced even newer concepts which have hitherto not been seen in Indian art. Devajyoti Ray has introduced a new genre of art called Pseudorealism. Pseudorealist Art is an original art style that has been developed entirely on the Indian soil. Pseudorealism takes into account the Indian concept of abstraction and uses it to transform regular scenes of Indian life into a fantastic images.
In post-liberalisation India, many artists have established themselves in the international art market like Anish Kapoor and Chintan whose mammoth artworks have acquired attention for their sheer size. Many art houses and galleries have also opened in USA and Europe to showcase Indian artworks.Some artists like chiman dangi(painter, printmaker) Bhupat Dudi, Subodh Gupta, Piu Sarkar, Vagaram Choudhary, Amitava Sengupta and many others have done magic worldwide.Chhaya Ghosh is a gifted painter, and is pretty active in Triveni Art Gallery, New Delhi.
Gallery[edit]
Some notable Indian paintings[edit]
Hemen Majumdar's "Lady with the Lamp"
Sudip Roy's "Charulata Series"
Rabindranath Tagore's "Self portrait"
Abanindranath Tagore's Bharat Mata
Raja Ravi Varma's Shakuntala
Ramkinkar Baij's "Jakkha 0 Jakkhi"
Bikash Bhattacharjee's "Doll-series"
Geeta Vadhera's Jogia "Dhoop series"
Jahar Dasgupta's "Confrontation"
MF Hussain's "Horses-series"
Jamini Roy's "Jesus"
John Wilkins's "Gossip",
Rakesh Vijay "Persian and Mogul styles"
Jainul Abedin's "Series on Bengal Famine"
Sunil Das's "Bull Series"
Devajyoti Ray's "In Despair"
Tyeb Mehta's "Mahisasur"
B. G. Sharma's Krishna miniatures
ShakthiDass's
Amrita-Sher-Gil
M. Narayan's "Indian Ethnic" "Horses" Mother Teresa"
See also[edit]
Warli Painting
Painting
History of painting
Eastern art history
Cave paintings in India
The Last Harvest : Paintings of Rabindranath Tagore
Rabindra Chitravali
Notes[edit]
Jump up ^ Klaus K. Klostermaier (1989), A survey of Hinduism, SUNY Press, ISBN 0-88706-807-3, ... prehistoric cave paintings at Bhimbetka (ca. 30000 BCE) ...
^ Jump up to: a b Coomaraswamy, Ananda K. (2003). History of Indian and Indonesian Art. Kessinger Publishing. p. 88. ISBN 978-0-7661-5801-6. Retrieved 11 December 2011.
Jump up ^ Coomaraswamy, Ananda K. (1999). Introduction to Indian Art,: Munshiram Manoharlal, ISBN 81-215-0389-2 p.68-70
Jump up ^ "Indian State Traditional Paintings - NID CEED Help". NID CEED Help. 2017-08-13. Retrieved 2017-08-13.
Jump up ^ "HugeDomains.com - Pattachitra.com is for sale (Pattachitra)".
Jump up ^ http://www.huichawaii.org/assets/gall,-david---overcoming-polarized-modernities.pdf
^ Jump up to: a b "humanities underground » All The Shared Experiences Of The Lived World II".
Jump up ^ "Creator of a Floating World - Ranjit Hoskote - Tehelka - Investigations, Latest News, Politics, Analysis, Blogs, Culture, Photos, Videos, Podcasts".
Jump up ^ Alazar, Ejigu, (1 January 2011). "“Contextual modernism” – is it possible? Steps to improved housing strategy".
Jump up ^ http://www.khojworkshop.org/user/geeta_kapur
Jump up ^ "Afterall • Online • Geeta Kapur: On the Curatorial in India (Part 1)".
Jump up ^ "National Gallery of Modern Art, New Delhi".
Jump up ^ "Rabindranath Tagore: The Last Harvest".
Jump up ^ http://www.curationtheory.com/workshops.php
Jump up ^ http://ngmaindia.gov.in/pdf/The-Last-Harvest-e-INVITE.pdf
Further reading[edit]
Havell, E. B. (1908). Indian sculpture and painting. John Murray, London.
Coomaraswamy, Ananda K. (1914). Viśvakarmā ; examples of Indian architecture, sculpture, painting, handicraft. London.
Havell, E. B. (1920). A Handbook of Indian Art. John Murray, London.
Indian Painting, by Percy Brown. Published by Y. M. C. A. publishing house, 1960.
Indian Painting, by Philip S. Rawson. Published by P.Tisné, 1961.
Indian Painting: The Scene, Themes, and Legends, by Mohindar Singh Randhawa, John Kenneth Galbraith. Published by Houghton Mifflin, 1968.
Indian Painting, by Douglas E. Barrett, Basil Gray. Published by Skira, 1978. ISBN 0-8478-0160-8.
Kossak, Steven. (1997). Indian court painting, 16th–19th century. Metropolitan Museum of Art. ISBN 0-87099-783-1
Lerner, Martin (1984). The flame and the lotus: Indian and Southeast Asian art from the Kronos collections. New York: The Metropolitan Museum of Art. ISBN 0-87099-374-7.
A History of Indian Painting: The Modern Period by Krishna Chaitanya. Published by Abhinav Publications, 1994. ISBN 81-7017-310-8.
Ramayana by Valmiki illustrated with Indian miniatures from the 16th to the 19th century, Diane de Selliers Publisher, 2011, ISBN 978-2-903656-76-8
Welch, Stuart Cary (1985). India: art and culture, 1300-1900. New York: The Metropolitan Museum of Art. ISBN 978-0-944142-13-4.
External links[edit]
Wikimedia Commons has media related to Paintings from India.
Indian State Traditional Paintings- NID CEED Help
Paintings of Professional & Emerging artists in India
Miniature Painting, Wall paintings, and modern Indian painting, Indian Government, Centre for Cultural Resources and Training
Archaeological Survey of India
Mithila Paintings or Madhubani Paintings
[1]
Online exhibits
Metmuseum.org
Retrieved from "https://en.wikipedia.org/w/index.php?title=Indian_painting&oldid=800385404"
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Brooklyn and Bailey McKnight
From Wikipedia, the free encyclopedia
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Brooklyn and Bailey McKnight (born December 31, 1999)[1] are American social media entertainers, musicians, and entrepreneurs. They are twin sisters.
Career[edit]
The Texas-based identical twins originally surfaced on YouTube in 2009 as models for their mother Mindy McKnight’s DIY channel "Cute Girls Hairstyles", a video series of hair design tutorials.[2]
In 2013 the twins launched their own YouTube channel, Brooklyn and Bailey, with a focus on teen interests, fashion, beauty, and "all things fun".[3]
In 2015 the twins were listed by Business Insider as one of "13 up-and-coming YouTube stars you should be following",[4] and their YouTube channel was nominated for a Streamy Award in the Fashion category.[5]
In November 2015, the sisters launched Squared, a YouTube channel and daily web series described by Variety as being "dedicated to all things twins".[2] Seven sets of twins from North America, the UK, and Australia contribute episodes to the series.[6]
In early 2017, Brooklyn and Bailey announced their entrance into the music industry.[7] The pair partnered with music producer Benny Cassette, and their first track, “Dance Like Me", debuted March 3, 2017.[8] The track charted at #26 for most popular song and #12 for pop US song on iTunes. On April 28, 2017, the twins released their second single, "Simple Things". They released their third song "What We're Made Of" July 13, 2017. Brooklyn and Bailey had previously collaborated with Peter Hollens for a cover of Lennon and Maisy's "A Life That's Good" in August 2015.[9]
In 2017 the twins also launched their own merchandise line,[10] and they were on Forbes list of Top Influencers – Kids.[11][12][13] In 2018 they were finalists in the YouTube Musician category for the 10th annual Shorty Awards.[14][15][16][17]
In April 2018, they both announced that they were going to attend Baylor University in Waco, Texas.[18]
References[edit]
Jump up ^ "Brooklyn and Bailey". Mormon Music. Retrieved April 6, 2018.
^ Jump up to: a b Spangler, Todd (2016-06-21). "The McKnights: Family's YouTube Hair Tutorials Grow Into Major Media Business". Variety. Retrieved 2017-03-06.
Jump up ^ "5 Things You Need to Know About Brooklyn and Bailey McKnight". PEOPLE.com. 2016-07-05. Retrieved 2017-03-06.
Jump up ^ "Brooklyn and Bailey are second-generation YouTube stars". Business Insider. Retrieved 2017-03-06.
Jump up ^ "5th Annual Winners & Nominees | The Streamy Awards". The Streamy Awards. Retrieved 2017-03-06.
Jump up ^ "YouTube Stars Brooklyn and Bailey Launch New Twins-Only Channel". Tubefilter. 13 January 2016. Retrieved 3 January 2018.
Jump up ^ Brooklyn and Bailey (2017-02-26), Our 1st Music Single Drops This FRIDAY! | Vlog Countdown Day 5, retrieved 2017-03-06
Jump up ^ "Dance Like Me - Single by Brooklyn and Bailey on Apple Music". iTunes. Retrieved 2017-03-07.
Jump up ^ Peter Hollens (2015-08-05), A Life That's Good | Lennon and Maisy - Peter Hollens feat. Brooklyn and Bailey, retrieved 2017-03-13
Jump up ^ Hardy, Alyssa (August 23, 2017). "Brooklyn and Bailey McKnight Launch Tour Merch". Teen Vogue. Retrieved April 6, 2018.
Jump up ^ "Brooklyn and Bailey McKnight". Forbes. Retrieved April 6, 2018.
Jump up ^ "2017 Top Influencers: Kids: Brooklyn and Bailey McKnight". Forbes. Retrieved April 6, 2018.
Jump up ^ O'Connor, Clare (December 20, 2017). "Forbes Top Influencers: Meet The Kids Making Millions Reviewing Toys, Rapping And More". Forbes. Retrieved April 6, 2018.
Jump up ^ "Brooklyn & Bailey". Shorty Awards. Retrieved April 6, 2018.
Jump up ^ "Best YouTube Musician – Finalists". Shorty Awards. Retrieved April 6, 2018.
Jump up ^ "The Tenth Annual Shorty Awards: Influencer Nominees". Shorty Awards. Retrieved April 6, 2018.
Jump up ^ https://deadline.com/2018/01/shorty-awards-tiffany-hadish-lena-waithe-tracee-ellis-ross-cardi-b-lebron-james-1202243565/
Jump up ^ Brooklyn and Bailey McKnight (April 25, 2018). "COLLEGE DECISION 2018! Are We Going to the SAME School?!?" (video). YouTube. Retrieved June 2, 2018.
External links[edit]
Brooklyn and Bailey's channel on YouTube
Brooklyn and Bailey's official website
Brooklyn McKnight at IMDB
Bailey McKnight at IMDB

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