Benefits of an Online Art Gallery

Operating an art gallery can both rewarding and challenging. You can enjoy the freedom of selecting the pieces you want that are an expression of your own creative spirit and brought to you by artists you admire. Holding exhibitions or galas are an exciting part of building your reputation within the cultural community. A bricks and mortar gallery is not the only option, however, as many gallery owners offer their pieces in an online art gallery and have enjoyed increased exposure and sales.


Today’s technology has made it very easy and inexpensive to set up an online art gallery. By entering the online world, original and fine art becomes accessible to more people thereby increasing exposure for the artist and sales for the gallery owner. Shopping for artwork becomes simple, as potential buyers can search for paintings or sculptures based on their needs and wants. For example, buyers can search by artist, category (landscape, portrait, etc), or price range. Artists benefit because their work can be displayed for longer, increasing their potential earnings opportunities.


It’s no secret that the vast majority of consumer purchases start with an online search. It makes sense for the world of fine art to join the fray and be accessible to everyone. The cost of setup is minimal and the benefits are many. Besides, bringing the enjoyment of artwork and the beauty it brings into more people’s lives can be its own reward.


Analysis of Sales of Art

Traditionally the two most prominent modes of organized selling of art have been through art galleries and physical art auctions houses (auctions) apart from private sales.

Ten years ago, Saffronart, an online store for lovers of art was started. Art websites online have since then caught on as they provide the benefit of increasing reach to a greater number of buyers. Art fairs such as India Art Summit which started in 2008 (now an annual fair) are another very recent phenomenon spurring art sales.


Offline Sale of Art

Art works are usually with the art gallery on consignment basis. So there is flexibility in terms of display and showcasing and contracts are used. Artists from different locations rarely come together and interact.


Apart from gallery, middlemen exist in the industry – connecting artists to galleries with their knowledge of the artists and art styles, they may also act as curators at times. Greater dependence is on trust, although contracts and agreements exist.


Art galleries give artists independence and yet the artists cooperate with the gallery to sell their works. Therefore, it is a mutually beneficial symbiotic relationship.


Online sale of art

Online sales comprise of display of artwork on websites. Fixed price sales of art prints and artworks (standard e-commerce model using a transaction gateway) and online auctions for bids online are the modus operandi. Mobile auctions along with website-based auctions are the norm. A new development has been entire art-fairs being conducted online using rich graphical website technologies and 3D look and feel (VIP Art Fair – January 2011). Such fairs are for the internet-savvy and are international in nature due to the prevalence of high-speed internet connectivity. High-resolution images are sent out via e-mail to potential buyers/patrons who often buy. Gallery repute and the artist are most important when buying online as per inputs of art galleries.


Art Transaction Processes

Transactions in the art world comprise of buying and selling of art. Artists and art entrepreneurs sell their artworks. The price of the artwork is either determined by the artist or in collaboration with the art entrepreneur as a fixed price. References for this pricing could be artists of the same style or genre. At times when it is not possible to determine the price of a piece of art, auctions are conducted to determine the worth of a piece of artwork especially if it is a new style of art. These auctions then go on to determine the relative worth of an artist’s artwork. The auction results become a reference for setting the base price for future auctions. Often secondary art pieces are auctioned. An art collector possessing an art-collection, sells off some of his artworks to potential buyers or collectors, and this maybe done through an auction house or a gallery!


Indian Art


Art, is a very precious heritage in the culture of a people. “It is more so in India, where the story of art is as old as the history of the race- a panorama of five thousand years. The essential quality of Indian art is its preoccupation with things of the spirit. Art in India did not aim at objective presentation of the human or social facets of life. It was primarily the fruit of the artist’s creative meditation and effort to project symbols of divine reality as conceived and understood by the collective consciousness of the people as a whole. It is a vast, unending social and religious endeavor of devotees to depict the forms of the gods and goddesses they worshiped.

Any tourist desirous of understanding the real significance of Indian art should be prepared patiently to go to the length and breadth and savour deep of the symbolic meanings that make up a world of their own. “Indian religion does not yield its secret to one who only skims the surface; and of the same mysterious, secretive essence is the art of India” . The essential truth in the art of India is the tribute to the abstract and unmanifest power behind the material world, the primeval source of all things.

Indian painting has a history of over two thousand years and presents a comprehensive record of the religious and emotional life of the people. The art of painting was widely cultivated in the Gupta period and is best known through the paintings surviving in the Ajanta Caves, and also in the Bagh caves. “The artist in the Indian tradition had long been exploring man’s inner experiences and his creative energies. The aesthetic enjoyment within the Indian tradition was supported, and geared toward, an art expertise that took place within the citta – the artistic centre wherever the acceptable shape/form of an image was determined”.

Indian art is an immediate expression of Indian civilization as a whole. It represents beliefs and philosophies, ideals and outlooks, the materialized vitality of the society and its spiritual endeavors in varying stages of development. To understand the art of India (Shanti Swarup, 1967), “it is necessary to estimate the formative influences that have gone into the moulding of the aesthetic sensitiveness of the people.”

Indian Painting

When you go to the market or to a museum you will find many paintings, wall hangings or work done on terracotta. Do you know that these paintings have their origin in our ancient past. They depict the life and customs followed by the people of those times. Literacy records which had a direct bearing on the art of painting show that from very early times painting both secular and religious were considered an important form of artistic expression and was practised. This want for expression may be a terribly basic demand for human survival and it’s taken varied forms since prehistoric times. Painting is one such form with which you may have been acquainted in some way or the other. Indian painting is that the results of the synthesis of assorted traditions and its development is an in progress method. However while adapting to new styles, Indian painting has maintained its distinct character. “Modern Indian painting in thus a reflection of the intermingling of a rich traditional inheritance with modern trends and ideas”.


Painting as an art form has flourished in India from very early times as is evident from the remains that have been discovered in the caves, and the literary sources. The history of art and painting in India begins with the pre-historic rock painting at Bhimbetka caves wherever we’ve got drawings and paintings of animals. The cave paintings of Narsinghgarh (Maharashtra) show skins of spotted deer left drying. Thousands of years ago, paintings and drawings had already appeared on the seals of Harappan civilization.

Both Hindu and Buddhist literature talk to paintings of varied varieties and techniques as an example, Lepyacitras, lekhacitras and Dhulitcitras.. The first was the representation of folklore, the second one was line drawing and painting on textile while the third one was painting on the floor.

Materials used in the paintings

Different materials were used in different types of paintings. Mention of chitra shalas (art gallery) and Shilpasashtra (technical treatises on art) have been made in literary sources. However, the principal colours used were red ochre (dhaturaga), vivid red (kum kum or sindura), yellow ochre (haritala), indigo (blue) lapis lazuli blue, lampblack (kajjala), chalk white (Khadi Mitti) terra verte (geru mati) and green. All these colours were locally available except lapis lazuli which came from Pakistan. Mixed colours e.g. grey were used on rare occasions. Use of colours were decided by the theme and local atmosphere.

Art in the Modern Period

In the late eighteenth and early nineteenth centuries paintings comprised semi westernised local styles which were patronised by British residents and visitors. Themes were generally drawn from Indian social life, popular festivals, and Mughal monuments. These reflected the improvised Mughal traditions. Shaikh Zia-ud-Din’s bird studies for Lady Impey and the portrait paintings of Ghulam Ali Khan for William Fraser and Colonel Skinner are the examples of some excellent paintings of this period.

Gradually some deeper changes took place in the thinking of the English educated urban middle class which began to be reflected in the expressions of the artists. Increasing awareness about British rule, ideals of nationalism and the desire for a national identity led to creations which were distinct from earlier art traditions.

Decorative Art

The artistic expression of the Indian people is not limited to painting on canvas or paper only. Decorative painting on walls of homes even in rural areas is a common sight. Rangoli or decorative designs on floor are made for auspicious occasions and pujas whose stylised designs have been passed on from one generation to the other. The designs are called rangoli in the North, alpana in Bengal, Kollam in Tamilnadu and mandana in Madhya Pradesh. Usually rice powder is used for these paintings but coloured powder or flower petals are also used to make them more Colourful.

Mithila Painting

Mithila painting also known as Madhubani folk art is the traditional art of the Mithila region of Bihar. They are produced by village women who make three dimensional images using vegetable colour with few earthen colours and finished in black lines on cow dung treated paper. These pictures tell tales especially about Sita’s exile, Ram-Laxman’s forest life, or depict the images of Lakshmi, Ganesha, Hanuman and others from Hindu mythology. and Architecture Apart from these women also paint celestial subjects like sun and moon. Tulsi, the holy plant also is to be found in these paintings. They also show court scenes, wedding and social happenings. Drawings in Madhubani pictures are very conceptual. First, the painter thinks and then she “draws her thought”. No pretence is there to describe the figures accurately. Visually they are images that speak in lines and colours and are drawn for some rituals or festivals on household and village walls to mark the seasonal festivals or special events of the life cycle. Intricate flora, animal and birds motifs can also be found along with geometrical designs to fill up the gap. In some cases it is a special practice for mothers to make these art items in advance for their daughters as a marriage gift. These paintings also convey advice on ways to lead a good married life. There is also a social variation in subjects and use of colours. One can identify the community to which the painting belongs from the colours that are used in them. Paintings made by the upper, more affluent classes are colourful while those made by the lower caste people use red and black line work. But the technique of painting is safely and zealously guarded by the women of the village to be passed on by the mother to the daughter.

Nowadays Madhubani art is being used as decorative gift items, greeting cards and has become a source of income for local women folk.

Madhubani Painting

Madhubani painting or Mithila painting is a kind of Indian painting, practiced within the Mithila region of Bihar state, India, and the adjoining parts of Terai in Nepal. Painting is done with fingers, twigs, brushes, nib-pens, and matchsticks, using natural dyes and pigments, and is characterized by eye-catching geometrical patterns. There are paintings for each occasion and festival such as birth, marriage, Holi, Surya Shasti, kali puja, Upanayanam, Durga Puja etc.

As expected of any ancient civilization, Bihar has a very rich tradition of folk art and craft which feature as an extremely rich tradition of artistry and innovation. The handicrafts of Bihar are appreciated all over the world because of their great aesthetic value and their adherence to tradition.

The exact time once Mithila art originated isn’t known. It is believed that during the time of the Ramayana, when King Janak ordered his kingdom to decorate the town for the wedding of his daughter, Sita, to Lord Rama. The ancient tradition of elaborate wall paintings or Bhitti-Chitra in Bihar played a major role in the emergence of this new art form. The original inspiration for Madhubani art emerged out of women’s craving for religiousness and an intense desire to be one with God. With the idea that painting one thing divine would achieve that desire, ladies began to paint photos of gods and goddesses with an interpretation thus divine that captured the hearts of many.

Madhubani, which by one account means Forest of Honey, (‘Madhu’-honey, ‘Ban’-forest or woods) is a region in the northern part of Bihar. A region that has a distinct regional identity and language that reportedly spans 2500 years. The women painters of Mithila lived in a closed society. It is domestically believed that Madhubani painting tradition started when Raja Janak commissioned native artists to color murals in his palace in preparations for the wedding of his daughter Sita to Lord Ram. The paintings were originally done on walls coated with mud and cow dung. The kohbar ghar or the nuptial chamber was the room in which the paintings were traditionally done. Originally the paintings depicted an assembly of symbolic images of the lotus plant, the bamboo grove, fishes, birds and snakes in union. These images represented fertility and proliferation of life. There wont to be a tradition that the freshly married bride and groom would pay 3 nights within the kohbar ghar without cohabiting. On the fourth night they would on summate the marriage surrounded with the colourful painting. The Mithila paintings were done only by women of the house, the village and the caste and only on occasion of marriages.

Mithila painting, as a domestic ritual activity, was unknown to the outside world until the massive Bihar earthquake of 1934 when the houses and walls tumbled down. Then British colonial officer in Madhubani District, William G. Archer, while inspecting the damage “discovered” the paintings on the newly exposed interior walls of Mithila homes. He was struck by reported similarities to the work of modern Western artists like Miro and Picasso. During the 1930s he took black and white photos of some of these paintings, which today are the earliest images of the art. He also wrote about the painting in a 1949 article in ‘Marg’ an Indian Art Journal.

Online Giclee Prints

A giclee is an individually produced, high resolution, high-fidelity reproduction done on a special large format printer. Giclees are produced from digital scans of existing artwork or a digital file. Giclee is come from a French word meaning “sprayed ink”.

Our giclees are printed locally on a 12 color commercial printer by a professional photographer and artist. Acrylic and oil paintings are reproduced on canvas. The canvas can then be stretched for framing. Watercolors and pastels are printed on prime quality archival paper and framed behind glass. Ink used on all prints are archival quality to prevent any fading over time.

All prices included are the base price of an unstretched and unframed signed and numbered giclee print. Some titles include an artist proof series. Inquire if interested. Stretching and framing costs are additional. Bulk discounts are available. Please inquire for pricing on multiple giclee print purchases.

Giclee Printing in the eyes of the Fine Art sector

Artists use high quality inkjet printers to make high quality reproductions of their original two-dimensional artwork design, photographs or computer generated art. It is also possible to design the prints image completely on a computer using designer software such as adobe Photoshop, this producing effects that could not be hand made in the studio using paint or ink. The digital image includes every subtlety and nuance of the original, such as colour, light, shade and brush strokes and is often indistinguishable from the original work.

Digital or Giclee printing is now the industry standard having replaced traditional lithograph and screen printings methods.

Advantages :

  • Visual quality is extremely high, with images produced at 1440 dpi or more and suitable for gallery or museum display.
  • Prints can be printed on demand, so artists do not have to pay out large sums up-front for mass production and publishers do not have to hold large stocks.
  • Special software can be used to tweak and alter the original image to improve the size, colour, tone and other qualities if the image
  • When printed on good quality heavyweight art paper the prints should have a life expectancy comparable or better than other artwork, with a high level of lightfastness which means images will not fade for at least 75-100 years under normal display conditions.

Contemporary Indian ART

At the beginning of 19th century under the influence of the British Raj, Indian art displayed a general decline. The craft and techniques of fresco and miniature paintings which were unique in the history of art, were nearly lost. Miniatures were ousted by European oil painting. Towards the turn of the century, traditional Indian painting faded out and it was the time for Indian artists to look at their heritage with positive approach and advance from the earlier European Colonial Art.

After the decline of Mughal empire and the end of classical and medieval art of India. Contemporary art began with the British rule in India. Raja Ravi Varma, Abanindranath Tagore, Amrita Shergil, Rabindra Nath Tagore, and Jamini Roy, were the pioneers of contemporary Indian Art. These young artists were more exposed to the western art movements. German Expressionism, Cubism, Fauvism, Dadaism and Surrealism left great influence on these Indian painters, but at the same time, their struggle to retain Indian identity continued. A combination of western technique and Indian spiritualism became the essence of Indian art at this stage. Along with the western methods and materials, they also tried to use the far eastern methods of painting. Lot of experiments were done with print making (Woodcut, Lithograph, Etching etc.). Pradosh Das Gupta, Prankrishna Pal, Nirode Mazumder, Paritosh Sen and others of Calcutta group held the first show in 1943 and the progressive Artists group of Bombay exhibited the paintings of F.N. Souza, Raza, M.F. Hussain, K.H. Ara and others in 1947. While some artists were experimenting with western style, others like Benode Behari Mukherjee, Ramkinkar Vaij, Sailoz Mukherjee, showed inclination towards Japanese art and Folk Art. Two of Bengal School artists, Devi Prosad Roy Chowdhury and Saroda Ukil played fundamental roles in introducing modern art movement in the Northern and Southern parts of India. K.C.S. Panikar and Srinivasalu, students of D.P. Roy choudhury, made their mark in contemporary Art while Saroda Ukil established an Art School in Delhi.

Later, artists like Amrita Shergil drew on both Western and Indian traditions. Her contribution in the field of art retains her unique position as the first lady of the modern Indian art. All these artists produced remarkable works in the history of contemporary Indian Art.

Origins of Modern Art

Modern Art, art created from the 19th cent. to the mid-20th cent. by artists who veered away from the traditional concepts and techniques of painting, sculpture, and other fine arts that had been practiced since the Renaissance (see RENAISSANCE ART AND ARCHITECTURE). Nearly every phase of modern art was initially greeted by the public with ridicule, but as the shock wore off, the various movements settled into history, influencing and inspiring new generations of artists.


In the second half of the 19th cent. painters began to revolt against the classic codes of composition, careful execution, harmonious coloring, and heroic subject matter. Patronage by the church and state sharply declined at the same time that artists’ views became more independent and subjective. Such artists as COURBET, COROT and others of the BARBIZON SCHOOL, MANET, DEGAS, and TOULOUSE-LAUTREC chose to paint scenes of ordinary daily and nocturnal life that often offended the sense of decorum of their contemporaries.


MONET, RENOIR, and PISSARRO, the great masters of IMPRESSIONISM, painted café and city life, as well as landscapes, working most often directly from nature and using new modes of representation. While art had always been to a certain extent abstract in that formal considerations had frequently been of primary importance, painters, beginning with the impressionists in the 1870s, took new delight in freedom of brushwork. They made random spots of color and encrusted the canvas with strokes that did not always correspond to the object that they were depicting but that formed coherent internal relationships. Thus began a definite separation of the image and the subject. The impressionists exploited the range of the color spectrum, directly applying strokes of pure pigment to the canvas rather than mixing colors on the palette. In sculpture, dynamic forms and variations of impressionism were created by RODIN, Renoir, Degas, and the Italian Medardo ROSSO.


A more fanciful sort of modern art was created by Jean ARP, Marcel DUCHAMP, and Kurt SCHWITTERS in the irreverent manifestations of the DADA movement. Dada artists devised “ready-mades” and COLLAGE objects from diverse bits of material. The movement was linked with Freudianism in the 1920s, producing the wild imagery of SURREALISM and VERISM, as seen in the paintings of Salvador DALI, Yves TANGUY, Max ERNST, and Joan MIRÓ. The 1920s also saw the beginning of an art of social protest by exponents of NEW OBJECTIVITY, among them George GROSZ, Otto DIX, and Max BECKMANN. With the rise of FASCISM and the GREAT DEPRESSION of the 1930s, the protest increased in intensity. The Mexicans OROZCO, RIVERA, and SIQUEIROS painted murals in which the human figure was made monumental and heroic (see MEXICAN ART AND ARCHITECTURE).


The development of a new American art movement was held in abeyance until after World War II, when the United States took the lead in the formation of a vigorous new art known as ABSTRACT EXPRESSIONISM with the impetus of such artists as Arshile GORKY, Jackson POLLOCK, and Willem DE KOONING. Action painting, as the movement was also known, made its impact felt throughout the world in the 1950s. A number of notable developments were led by artists associated with these and other New York school artists. As the influence of abstract expressionism waned in the 1960s, artists came to question the very philosophy underlying modernism. A vast variety of new movements and styles came to dominate the art world that, in the aggregate, can now be seen to mark the beginnings of artistic POSTMODERNISM and the post-midcentury shift from modern to CONTEMPORARY ART.


In sculpture the explorations of Julio González led to abstract configurations of welded metal that can be seen in the works of Americans such as David SMITH, Theodore Roszack, Seymour LIPTON, and Herbert FERBER. This tradition has been a lasting one, and contemporary examples of large abstract compositions of welded metal can be found in the work of many later sculptors, including Mark DI SUVERO and Beverly Pepper.

Alexander CALDER largely stood apart from other modernist sculptors with his brightly colored MOBILES and STABILES, which have since been widely influential, as in the large, brightly colored sculpture of Albert Paley. Meanwhile, the early-20th-century tradition of Brancusi’s organic abstract forms was inventively exploited in midcentury by Henry MOORE and Barbara HEPWORTH in England and by Jean Arp in France, while the Swiss Alberto GIACOMETTI and the Italians Giacomo Manzù and Marino MARINI each achieved a distinctive sculptural style. Later 20th-century sculpture has followed the patterns of the various postmodern art movements and is described in the article on CONTEMPORARY ART.