The Kiran Nadar Museum of Art (KNMA) in Saket, New Delhi recently opened a fascinating exhibition titled ‘Eckart Muthesius and Manik Bagh: Pioneering Modernism in India,’ curated by Raffael Dedo Gadebusch, Head of the Museum für Asiatische Kunst, Berlin. This exhibition, commemorating the 120th birth anniversary of German architect Eckart Muthesius, sheds light on an extraordinary cultural exchange between India and Germany in the early 20th century, focusing on the creation of Manik Bagh Palace in Indore. It highlights the intricate interplay of architecture, design, and art that defined modernism in India, bringing forth the little-known story of patronage and international cooperation that shaped one of India’s most iconic buildings.
The exhibition is a celebration of this cross-cultural dialogue, marking the beginning of a long-term partnership between KNMA and the Asian Art Museum in Berlin. With both institutions sharing a commitment to modern and contemporary art, this collaboration is poised to explore and expand the artistic and architectural contributions of India and its neighboring regions. The exhibition presents rare archival material, including photographs by Man Ray and Emil Leitner, watercolors, sketches, and design studies by Muthesius, offering visitors a glimpse into the creation of Manik Bagh, an architectural gem that has often been overshadowed by colonial edifices.
Manik Bagh, meaning ‘jewel garden,’ was conceived in the early 1930s when Maharaja Yeshwant Rao Holkar II of Indore met Eckart Muthesius at Oxford. The Maharaja, known for his forward-thinking and cosmopolitan outlook, wanted a palace that was distinct from the colonial designs prevalent in India at the time. He appointed Muthesius to design this modernist masterpiece, which would reflect his sophisticated tastes and stand as a symbol of the new democratic principles in architecture.
The palace was completed in 1933, and its interiors became an iconic example of early modernist design. Muthesius filled the palace with puristic, elegant furniture and contemporary artworks, many of which were commissioned specifically for the space. Notable pieces included three versions of Constantin Brancusi’s famous sculpture Bird in Space, a testament to the Maharaja’s deep engagement with avant-garde art movements in Europe.
Speaking about the exhibition, Dr. Philipp Ackermann, German Ambassador to India, remarked, “This exhibition not only tells the fascinating story of an early cooperation between India and Germany in the field of design and architecture through the very fruitful friendship of two sophisticated, like-minded young men, but also sheds light on the little-known topic of Indian patronage of Western art, design, and architecture during the height of the global economic crisis in 1929.”
Muthesius’ vision for Manik Bagh was not merely limited to aesthetics; it embodied the holistic ideals of modernist architecture, which sought to integrate design, space, and functionality. The exhibition explores how Muthesius’s designs broke away from the colonial architectural traditions in India, creating a space that was international in its outlook yet deeply rooted in the Maharaja’s desire to bring contemporary European aesthetics to his home country. The palace’s clean lines, minimalist furniture, and carefully curated art collection exemplified a new democratic approach to design, where form and function coexisted harmoniously.
The collaboration between Maharaja Yeshwant Rao Holkar II and Eckart Muthesius was more than just a patron-artist relationship; it was a reflection of the Maharaja’s global perspective and desire to position Indore as a hub of modernist design in India. His interest in European avant-garde movements, combined with Muthesius’s architectural brilliance, created a space that was revolutionary in its conception and execution.
Curator Raffael Dedo Gadebusch, who has meticulously curated this exhibition, notes, “Manik Bagh (‘gem garden’) is one of the most fascinating examples of the fruitful cultural exchange between Germany and India in the early twentieth century. Commissioned by the young and open-minded Maharaja Yeshwant Rao Holkar II of Indore, it took the Berlin architect and designer Eckart Muthesius just a few years to plan and realize the palace and its elegant garden layout. After its completion in 1933, Manik Bagh embodied the holistic ideals of a new democratic approach to architecture at the time.”
The exhibition not only presents architectural drawings and design elements but also delves into the relationship between Muthesius and Holkar, showcasing how their shared vision led to the creation of a modernist icon. It highlights the Maharaja’s boldness in commissioning European artists like Constantin Brancusi and his willingness to push the boundaries of traditional Indian architecture.
One of the highlights of the exhibition is the rare collection of photographs by renowned artists like Man Ray and Emil Leitner, who documented the interiors of Manik Bagh. These images provide an intimate look at the grandeur of the palace and the innovative use of light and space that Muthesius employed in his design. The exhibition also features original sketches and watercolors by Muthesius, giving viewers insight into the creative process behind the palace’s design.
In addition to photographs and sketches, the exhibition includes pieces of furniture and decorative objects that were part of the original Manik Bagh interiors. These objects, many of which have been sourced from private collections and museums in Europe, offer a tangible connection to the architectural marvel that Muthesius created.
Kiran Nadar, Chairperson of the Kiran Nadar Museum of Art, expressed her excitement about hosting the exhibition, stating, “The Kiran Nadar Museum of Art (KNMA), Delhi is pleased to be the first institution to host the traveling exhibition ‘Eckart Muthesius and Manik Bagh – Pioneering Modernism in India,’ in October this year in India. We are grateful to the German Ambassador Dr. Philipp Ackermann, German Embassy in Delhi, Museum für Asiatische Kunst Berlin, Staatliche Museen zu Berlin, and the lenders to the project.”
The story of Manik Bagh is not just a tale of architectural innovation; it is also a reflection of the global cultural exchanges that defined the early 20th century. The exhibition contextualizes Muthesius’s work within the broader modernist movement, drawing connections between his designs and the work of other European architects and artists of the time. It also highlights the Maharaja’s role as a patron of the arts and his contributions to the international modernist movement.
The exhibition at KNMA is a tribute to the power of cross-cultural collaboration and the lasting impact of the relationship between Maharaja Yeshwant Rao Holkar II and Eckart Muthesius. As visitors explore the rare archival materials and learn about the fascinating history behind Manik Bagh, they are invited to reflect on the ways in which architecture and design can transcend geographical boundaries and create a lasting legacy.
This exhibition marks the beginning of what promises to be a long-term collaboration between KNMA and the Asian Art Museum in Berlin. With both institutions dedicated to exploring and promoting modern and contemporary art, this partnership will likely result in future exhibitions and projects that continue to highlight the rich cultural exchanges between India and the world. The exhibition serves as a reminder of the importance of preserving and celebrating the unique architectural and artistic heritage that connects India and Germany.
Another exhibition that simultaneously opened at KNMA Saket is dedicated to the practices of South Asian diaspora artists. Curated by Akansha Rastogi, the exhibition initiates a critical dialogue among the works of three artists: Simryn Gill, Neha Choksi, and Hajra Waheed. Featuring substantial bodies of work from each artist, the exhibition begins with an exploration of the element ‘Earth’ as a geological, cultural and material experience. Most of the works in the exhibition are the artists’ life-long projects or long-term commitments to specific ideas, materials, and methods.