This week marks the third wedding anniversary of Bollywood superstars Ranbir Kapoor and Alia Bhatt, who revealed they were dating in 2018 and married on April 14, 2022.
Although joining the Kapoor film dynasty may seem like a dream, there is compelling evidence that marrying into the family has brought misfortune to many women across generations.
With that in mind, Eastern Eye used the Ranbir–Alia anniversary as an opportunity to take a deep dive into the lives of Kapoor brides – from cheating spouses and broken marriages to personal tragedy and untimely death.
Prithviraj Kapoor and Ramsarni Mehra Reddit/ BollyBlindsNGossip
Ramsarni Mehra: The little girl from Peshawar had an arranged child marriage with Prithviraj Kapoor, two years her senior and future founder of the Kapoor film dynasty.
At 15, she moved in with her in-laws and a year later gave birth to Raj Kapoor in 1924. Prithviraj left the young mother behind when he moved to Mumbai to pursue acting. He returned occasionally, and she gave birth to two more children before joining him in 1930.
Shortly after having a fourth child, tragedy struck. In the same week, two of her children died – one from double pneumonia, and the other in a freak accident after swallowing rat poison in the garden.
Raj Kapoor and Krishna MalhotraABP
Krishna Malhotra: Before becoming a superstar actor, director and producer, Raj Kapoor married Krishna Malhotra on May 12, 1946. By the early 1950s, he was one of India’s biggest stars.
Though the couple remained married until his death in 1988, he was regularly unfaithful. His most famous affair was with co-star Nargis. Rishi Kapoor later revealed that his father Raj also had an affair with Vyjayanthimala. Things got so bad that Krishna moved out with the children, returning only after the affair ended.
She had to endure heavy drinking and extra-marital affairs by her husband throughout their marriage. Raj once said of his wife, “She tolerated me.”
Geeta Bali: A massively successful star when she met Shammi Kapoor, Geeta Bali married him in 1955 while he was still trying to make his mark.
As per the Kapoor family tradition – one that would affect other leading ladies in the following decades – Geeta was made to give up her flourishing career after marriage. Shammi gained stardom and they had two children.
But their seemingly perfect life came crashing down when she decided to make a comeback in 1965. While shooting, she contracted smallpox and died aged 35. Shammi later proposed to Mumtaz, who turned him down as she was unwilling to give up her acting career. He eventually married Neila Devi Gohil, who had a royal lineage, in 1969. They had no children.
Geeta Bali and Shammi Kapoorapnaorg.com
Jennifer Kendal: The British actress was working with her father’s theatre group in Calcutta when she met Shashi Kapoor, who was performing with his own family’s theatre company.
They married in 1958 after overcoming opposition, but because Jennifer refused to give up her career, she was never fully accepted into the tight-knit Kapoor family. As Shashi’s film career soared, Jennifer became increasingly isolated and took on the role of raising their children.
There were press reports of Shashi being unfaithful, though never confirmed. Jennifer died of cancer in 1984 at the age of 51, a tragedy that plunged Shashi into a downward spiral of depression.
Jennifer Kendal and Shashi KapoorBollywoodShaadis
Babita: Daughter of actor Hari Shivdasani, Babita was becoming a successful Bollywood leading lady when she married Randhir Kapoor in 1971. Like other Kapoor wives, she had to give up her career.
As Randhir’s acting fortunes faded and his problems with alcohol worsened, their marriage crumbled. In the late 1980s, Babita walked out with daughters Karisma and Kareena and raised them on her own through tough times.
The couple never officially divorced but reconciled decades later. However, Randhir’s issues, including alcoholism, reportedly persisted.
Randhir Kapoor and Babita BollywoodShaadis
Neetu Singh: Seen as a dream couple, Neetu Singh and Rishi Kapoor married in 1980 when she was at the peak of her career. She too was made to give up acting soon after marriage.
In an old interview that went viral years later, Neetu reportedly spoke of her husband’s extra-marital flings and one-night stands. Like many others in the family, Rishi developed a problem with heavy drinking, which caused mood swings and erratic behaviour.
She quietly endured the emotional toll and only returned to acting much later in life.
Neetu Singh and Rishi KapoorNews18
More splits in dynasty
ACCORDING to online reports and Wikipedia pages, both of late actor Shashi Kapoor’s sons – Kunal and Karan – divorced their respective wives. That means their ex-wives, too, became part of this seemingly generational curse by ending up in unsuccessful marriages.
Aarti Sabharwal: An architect by profession, Aarti married Raj Kapoor’s youngest son Rajiv Kapoor in 2001. But Rajiv, haunted by being the least successful Kapoor brother, struggled with his identity.
What started as a dream wedding quickly turned into a nightmare. They divorced just two years later. While no official reason was given, Rajiv also had a history of alcoholism. Aarti moved on with her life away from the public eye.
Rajiv Kapoor and Aarti Sabharwal Times Now Navbharat
Alia Bhatt: Although it may seem like a fairytale romance, Alia’s marriage to Ranbir Kapoor carries its own drama. Ranbir has long had a reputation as a ladies’ man.
They had a shaky start with what is often referred to as a ‘shotgun wedding’ – a rushed marriage following an unexpected pregnancy. Unlike other leading ladies such as Deepika Padukone, Katrina Kaif and Priyanka Chopra Jonas, who had lavish ceremonies, Alia reportedly tied the knot at home in a low-key affair due to being pregnant.
Their daughter was born less than seven months after the wedding. So far, Alia has avoided the misfortunes faced by other Kapoor brides and has been allowed to continue her acting career.
Alia Bhatt and Ranbir KapooInstagram/ aliaabhatt
Same fate hits Karisma
Though born into the family, Karisma Kapoor’s own marriage fits the pattern. After her engagement to Abhishek Bachchan was called off, she married businessman Sunjay Kapur in 2003 and had what can best be described as a horrific marriage. Their relationship quickly unravelled, and Karisma revealed shocking details of abuse during their time together – allegations he denied. They divorced in 2016.
Saudha presents A Mint of Mysticism at Nehru Centre, London on 15 July 2025
The show celebrates Nobel Laureates Rabindranath Tagore and Maurice Maeterlinck
Live performances feature Indian classical music, spoken word, and dance
An accompanying art exhibition will run from 14–18 July, with daily talks
Event curated by T M Ahmed Kaysher; free to attend with registration
Tribute to literary mystics takes centre stage in London
The Nehru Centre in London will host A Mint of Mysticism Through Tagore and Maeterlinck on Tuesday, 15 July 2025 at 6 pm, a multidisciplinary performance exploring the mystic and metaphysical philosophies of two Nobel Prize-winning literary icons. Organised by the Saudha Society of Poetry and Indian Music, the event pays tribute to Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913, and Maurice Maeterlinck, Belgium’s only literature laureate, awarded in 1911.
Curated by poet and director T M Ahmed Kaysher, the evening will feature performances blending Indian classical music, dance, and spoken word. Admission is free, with tickets available via Eventbrite.
Exploring the mystic worlds of Tagore and Maeterlinck
Tagore and Maeterlinck, though from vastly different backgrounds, shared a literary commitment to mysticism, symbolism, and metaphysical themes. Tagore’s Gitanjali, which earned him the Nobel Prize, is known for its spiritual verse and lyrical depth. Maeterlinck, acclaimed for his symbolist plays like The Blue Bird, wrote about the soul, destiny, and the unseen forces of life.
This event aims to draw parallels between their works, offering a philosophical exploration of their writings through the lens of music, poetry, and visual art.
Performers bring mystic poetry to life
The evening’s main performance will feature:
Chandra Chakraborty, a renowned UK-based Hindustani classical vocalist and co-founder of Saudha, known for her emotive renditions of Tagore’s Rabindra Sangeet
Eka, a national award-winning Ukrainian singer, songwriter and Bandura player, known for fusing Ukrainian folk with classical styles
Shree Ganguly, a powerful performance poet
Nazia Amin and Zafira Salam, prominent spoken-word artists
Asmitha Keer, Sewli Bhattacharyya, and Wafi Rahman Ananna presenting classical Indian dance interpretations of mystic themes
A group of Tagore singers from Oxford, performing choral pieces
Together, they will create an immersive sonic and visual interpretation of the mystic philosophies in the works of both writers.
Mystic-inspired visual art exhibition
Running in parallel, an art exhibition inspired by the writings of Tagore and Maeterlinck will be displayed at the Nehru Centre Gallery from Monday, 14 July to Friday, 18 July 2025.
The exhibition features 16 original works by:
Tarek Amin, a national award-winning painter
Bengt O. Björklund, a Swedish poet and painter
Sonia Yasmeen, a London-based landscape artist
Each piece offers a visual interpretation of verses or ideas rooted in mysticism drawn from the authors’ work. Visitors can also attend daily curated talks, readings, and recitations in the gallery from 4 pm to 6 pm during the exhibition dates.
An artistic fusion of East and West
Through its cross-cultural performances and curated exhibitions, A Mint of Mysticism not only highlights the literary legacy of Tagore and Maeterlinck but also fosters an artistic dialogue between East and West. Organisers say the initiative hopes to engage new audiences in both philosophical reflection and artistic expression.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.
THE theme of the Royal Academy’s Summer Exhibition 2025 is “dialogues”, prompting the question: can art help bring together the people of India and Pakistan? Or, indeed, Israel and Iran – or Israel and Palestine?
It so happens that the coordinator of this year’s Summer Exhibition is the internationally celebrated artist and Royal Academician Farshid Moussavi, who is of Iranian origin.
She said: “The Royal Academy Summer Exhibition 2025 is dedicated to art’s capacity to forge dialogues and to nurture sensitivity towards societal concerns, such as ecology, survival and living together. These dialogues can be between people of different races, genders or cultures; between humans, other species and the planet; or across disciplines – art, science, politics, for example.
” In an interview with Eastern Eye, Moussavi stressed that art exhibitions alone cannot solve political problems.
But, she added: “Art exhibitions are about developing sensibilities and giving people the opportunity to see things differently – different from how they are presented, perhaps, in the media, on social media and general media.
“That’s all we can do. There is so much more that unites us than divides us.”
Asked whether art could help temper the anti-immigrant sentiment being stirred by some politicians in the UK, she replied: “The reason why I set the theme of dialogue is to encourage and nurture compassion and understanding. Yes, there is a lot of anti-immigrant [sentiment] – and it’s not just the UK, by the way, it’s everywhere.”
“Sometimes I feel that part of the negative feeling stems from simple ignorance – from not knowing or understanding each other. When you do not understand someone, you become afraid, or you see them as a threat. The more we come together – perhaps by going to exhibitions together, sitting around the table – the more we realise we can cohabit the world while being different. But we need to respect each other.”
The Story Teller by Ley Roberts
In his remarks at the opening of the 257th Summer Exhibition, Andrew Tarsia, director of exhibitions at the RA, said: “It has been held every year without interruption since it was first inaugurated in 1769. The theme of this year’s exhibition is dialogues – a theme which Farshid and the [hanging] committee have explored through more than 1,700 works displayed in the galleries. “Something that really marks this edition is the thoughtfulness with which the theme has been explored – through specific combinations of works that have been carefully curated, selected and hung across the galleries.”
He said Moussavi had worked with other members of the hanging committee, including “Tom Emerson and Stephanie Macdonald of 6a Architects, Vanessa Jackson, Christopher Le Brun, Helen Sear, Caragh Thuring and Richard Wilson. And, of course, the committee was chaired by the president of the Royal Academy, Rebecca Salter.”
This year, there has been a particular focus on architecture.
Tarsia was followed by Moussavi, who said that being the coordinator had given her “a wonderful opportunity to test art, and I’m including architecture as part of that capacity to forge dialogue between people, ideas and things.
Summer Exhibition coordinator Farshid Moussavi, with Royal Academy director of exhibitions Andrea Tarsia in the background
“We live at a time of unprecedented polarity, whether cultural, social or political. Since the world out there is focused on those polarities, here we have the opportunity to dwell on what is common to us.”
She was trying to “find conversations between artworks or within artworks as a way to inspire us to come together and address the many problems we face, which arise from multiple spheres.
“In order to address them, we need to think across things, rather than treat them in isolation. The first such separation we have tried to address is that between architecture and art at the Summer Exhibition. You will notice there is no dedicated architecture room – instead, architecture is treated as art and displayed throughout the galleries.” She added: “Pairing art and architecture has definitely been a theme.”
An installation by Ryan Gander
She referred to the large inflatable balls designed by Ryan Gander, with questions inscribed on them such as, “How much is a lot?” and “When do you know you’re right?”
The RA said: “A playful, large-scale installation by Gander is on display in the Annenberg Courtyard. Featuring five three-metre-diameter inflatable balls inscribed with questions developed with children, the work represents the inquisitiveness of kids, who ask what grown-ups often dismiss as nonsensical or illogical.”
“Raising questions is the start of addressing our problems,” commented Moussavi. “You will notice his inflatable balls in the courtyard and one inside the gallery. They confront us with questions raised by children, but which are very difficult to answer. They make us think. They make us reflect.”
A sectional model of DY Patil University Centre of Excellence, Mumbai, by Spencer de Grey
One ball inside the building had blocked the usual route taken by visitors to the Summer Exhibition. This was deliberate, forcing them to choose between two routes instead of three.
“Some people apparently take the [exhibition] book and go through the numbers,” she quipped. “I do not do that. I go with what I feel like.”
She referred to a building in Ukraine that had been painted by Jock McFadyen: “For an architect, the elevation or façade of a building is like working on a canvas. We see these kinds of dialogues. We have also discovered other themes. The open submissions come in, and we begin to identify issues that seem to be on the minds of artists and architects. One recurring theme is reuse.
“I can point you to an area where artists are working with found materials. There is an existing building that has been transformed or repurposed for a different use, and you can see the old ceiling and the new ceiling side by side. We can take what already exists – perhaps something lifeless or no longer useful – and transform it, give it a new life.
” Committee members Tom Emerson and Stephanie Macdonald of 6a Architects “have, in response to the theme, invited architectural submissions that explore how architecture can bring society together and reconnect with nature and its entangled global past and present”.
On display is work by a number of architects, including London-based Arinjoy Sen. “His work and interests have an acute focus on contested landscapes, citizenship, migration, narrative and spatial justice,” his studio said. “Sen brings a contemporary take on narrative painting, specifically evoking traditional forms such as Mughal miniatures, Kalighat paintings and pattachitra. He revisits the idea of the ritual through and beyond its association with religion.
Rituals and Identity and Theatre of Resistance by Arinjoy Sen
“Sen uses the digital medium combined with traditional craft practices like kantha embroidery and carpet weaving.”
In addition to the large number of public submissions, Royal Academicians exhibiting work include Rana Begum, Frank Bowling, Grayson Perry, Lubaina Himid, Cornelia Parker, Veronica Ryan, Conrad Shawcross, Yinka Shonibare and Rose Wylie.
Suspended works are a recurring theme throughout the exhibition; hanging above visitors in the largest gallery is an installation of textile carcasses by Argentine American artist Tamara Kostianovsky. Other invited artists this year include Lucy and Jorge Orta, Hussein Chalayan, Anya Gallaccio and John Walker.
n The Summer Exhibition is currently open to the public at the Royal Academy of Arts and will run until August 17, 2025
Keep ReadingShow less
It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album
Ten giant Michael Jackson statues were built in 1995 to promote his HIStory album
The 32ft figures appeared around the world and followed him on tour
Some remain visible in places like Switzerland, Italy, and South Africa
Others have been removed or stored due to controversy after Jackson’s death and allegations
Owners now face challenges selling, relocating or preserving the monuments
A colossal promotion campaign
In June 1995, Londoners witnessed an unusual spectacle: a 32ft statue of Michael Jackson being floated down the River Thames. It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album. A total of ten fibreglass statues were made, all modelled on the album cover image, and they accompanied the singer on his worldwide tour.
The statues were the product of a transatlantic effort. American sculptor Diana Walczak worked closely with Jackson to design a clay prototype. In the UK, artist Stephen Pyle oversaw the construction of the fibreglass versions, assisted by sculptor Derek Howarth and a team based at Elstree Studios. Built in just four months, the statues bore some differences from the original prototype due to limited access.
A statue above a Dutch McDonald's
One of the most well-known statues stood for years above a McDonald’s car park in Best, a village in the Netherlands. Restaurant owner Peter Van Gelder purchased the statue from Sony at a 1996 charity auction and installed it as a promotional feature.
The monument became a local landmark, drawing Jackson fans who visited regularly to celebrate the singer's birthday or commemorate his death. However, in 2019, following the release of the Leaving Neverland documentary which raised new allegations of child sexual abuse, McDonald's corporate headquarters in the US requested its removal. It now lies in storage, hidden under a tarp.
Van Gelder has considered donating it to a fan club, but due to its size, relocating it requires a building permit. “The interest in the statue is decreasing,” he notes.
From nightclub attraction to unsold collector’s item
In Austria, another statue stands in the courtyard of a closed nightclub west of Vienna. Franz Josef Zika, the former owner of The Baby'O, bought the statue at a radio charity auction in 1998 for around £9,300. Initially met with scepticism by family members, the statue eventually became a feature at the venue, placed in the smoking area and surrounded by bars.
The club closed in 2023 due to nearby residential development. Zika is now looking to sell the statue and has received interest from Sweden and Hungary but cites cost as a barrier. “Maybe I’ll send it to Mars. Elon will do this for me!” he jokes.
Fairground fixture in Switzerland
Another Jackson effigy resides with Luna Park, a long-running fairground event in Lausanne, Switzerland. Purchased in 2008 from a previous owner, the statue has been lightly refurbished, with gold accents added to its uniform. Although it has not been displayed in recent years, organisers confirmed it is not for sale.
Out of place in South Africa’s miniature world
Santarama Miniland in Johannesburg, once a popular educational park showcasing miniature replicas of South African landmarks, also hosts one of the Jackson statues. Despite the park being largely abandoned, the statue still stands, oddly juxtaposed against the park's "miniature" theme.
Blogger Heather Mason, who visited the park in 2013, described the scene as strange but memorable. “The MJ statue was the best photo op in the park,” she wrote.
Repainted and on sale in Italy
In Milan, Europark Idroscalo unveiled a freshly restored version of the Jackson statue in June 2019, just months after Leaving Neverland aired. A flash mob accompanied its reintroduction, and the statue was given new paint and sunglasses.
Park officials revealed the statue had previously been covered due to the allegations, and at one point modified to resemble a robot to distance it from Jackson's image. It is now up for sale once again.
Legacy in limbo
The statues were the product of a transatlantic effortGetty Iamges
While some of the statues remain visible in unlikely corners of the world, many have been removed or hidden due to shifting public sentiment. For others, storage, cost, and controversy have made preservation difficult. Thirty years after their creation, the towering monuments to Michael Jackson's legacy now stand as both relics of a global pop campaign and reminders of a career clouded by enduring debate.
Keep ReadingShow less
Each painting is visually vivid and scientifically supported
The exhibition Swara Raga Chitra by HN Suresh, Director of Bharatiya Vidya Bhavan, Bengaluru, was inaugurated on 14 June by Supreme Court advocate Sri Santhana Krishnan. Open daily until 22 June, the exhibition runs from 11 am to 7 pm at The Bhavan.
Artworks grounded in cosmology and music
The 50 digital paintings showcase a blend of cosmology and Indian classical music, with a focus on their scientific and metaphysical links. Featured works include Navagraha Mandala (nine planets) and Rashi Mandala (twelve zodiacs), grounded in astronomy and astrology.
Inspired by tradition, enriched by research
Each painting is visually vivid and scientifically supported, resulting from Suresh’s collaborations with leading scientists in India and abroad. Central themes of time and space tie the exhibition to deeper philosophical ideas.
The 50 digital paintings showcase a blend of cosmology and Indian classical musicThe Bhavan
The compositions accompanying the artworks were created by scholar-musician Dr. T. S. Sathyavathi, drawing inspiration from the Sri-Tatva-Nidhi of Krishnaraja Wodeyar III.
Keep ReadingShow less
Pooja Singhal on reviving Rajasthan’s Pichvai art with Feast Melody and Adornment in the UK’s largest showcase
For the first time, London’s Mall Galleries will host a major exhibition dedicated entirely to Pichvai paintings, an intricate devotional textile tradition from Rajasthan. Titled Feast, Melody and Adornment (2–6 July 2025), the show brings over 350 artworks to a British audience, highlighting the evolution and global revival of this 400-year-old art form.
Curated by Pooja Singhal, founder of Udaipur-based atelier Pichvai Tradition and Beyond, the exhibition is being hailed as the most ambitious contemporary presentation of Pichvai to date. In fact, it marks a powerful shift in how Indian temple art is being experienced: not in hushed museum archives, but as a vibrant, living tradition reaching new audiences.
Pichvai, meaning “behind the idol”, originated in the 17th century in Nathdwara, a temple town near Udaipur. Artists created these large-format cloth paintings for daily darshans (ritual viewings) of Srinathji, a baby Krishna deity. These works captured moments of shringar (adornment), bhog (feasting) and raag (devotional music), and were displayed behind the idol in the sanctum.
Deccan Miniature Images - Gold Cows on red getty images
Over time, these temple painters formed a tight-knit community. “My mother collected Pichvais, and my grandfather sold them,” says Singhal, whose childhood was steeped in this visual tradition. “I literally grew up surrounded by them.”
Layers of meaning, scale and detail
Though often mistaken for simple Krishna depictions, Pichvais are complex, layered artworks. They can include over 100 miniature elements like cows, lotuses, chariots and gopis, often spanning six to eight feet in height. Some motifs, like lotus blooms, are symbolic too, evoking cooling relief during Rajasthan’s scorching summers.
Pastel Lotus getty images
“Pichvai is unique because it marries the scale of a textile with the detailing of miniature painting,” explains Singhal. “Every inch has a hundred layers. You can stand there for hours and keep discovering new stories.”
Krishna as Govindagetty image
Schools of miniature painting from Nathdwara, Bundi, Jaipur and Kishangarh influence the styles on display. Some resemble aerial maps of temple festivals; others evoke the rhythm of music or the warmth of food being served to devotees.
Reimagining tradition for a global audience
Singhal’s goal since launching Pichvai Tradition and Beyond in 2010 has been to preserve traditional methods while adapting them for modern collectors. Her key innovations include:
Grayscale reinterpretations for minimal, contemporary homes
Greyscale Pichvais
Restored sketchbook folios, recreating daily temple scenes from archival fragments
Sketches
Pastel colour palettes and geometric cow motifs to appeal to wider interiors
Modern Cow Pastel
Framing artworks individually, allowing Pichvai sketches to stand as contemporary works in their own right
Sketches
These modern adaptations haven’t diluted the tradition; they’ve helped it grow. One of the atelier’s works was even selected by Prime Minister Narendra Modi as a diplomatic gift to a foreign leader, an unexpected milestone that, according to Singhal, affirmed the relevance and stature of this centuries-old tradition in the modern world. “When a Swedish collector bought a grayscale Pichvai at the India Art Fair, I realised the form can travel,” she says.
Pichvai gifted to Narendra Modi
A new system for old skills
Breaking away from the age-old guru–shishya (teacher–disciple) model, Singhal’s atelier now works more like a studio collective. A team of 10–12 artists from different miniature schools collaborate on large and small format works.
“Many painters had no work,” she says. “We started smaller Pichvais and even Deccan-style gold miniatures. It gave artists a viable livelihood.”
Black and gold Gopis
Bringing Pichvai to Britain
Shipping 350 works across continents has taken six months of preparation. The Victorian-era Mall Galleries, located near Trafalgar Square, has never hosted an Indian temple art show of this magnitude.
The artworks are split across three interconnected rooms, themed around Raag, Bhog and Shringar. Alongside the art, there will be over 15 events including artist walkthroughs, collector previews, academic panels, and auctions benefiting Rajasthan’s artisans.
The Haveli of Shrinathji
“I’ve never worked at this scale before,” Singhal admits. “But if every visitor leaves feeling connected to the art, it’ll be worth it.”
What it means for British-Indian audiences
This is the first exhibition in the UK to exclusively showcase newly created Pichvais, not just preserved artefacts. For British-Asian families who’ve seen such works in temples or family homes, it’s a rare chance to see them celebrated on an international platform.
“Many have never seen this tradition at such scale or detail,” says Singhal. “And now, these living artists, whose families have painted for generations, get their moment.”
📍 Mall Galleries, The Mall, London SW1Y 5BD 📅 2–6 July 2025 🕙 10:00–18:00 daily (until 19:00 on 4 July) 🎟️ Admission: £12 (₹1,280), £8 (₹850), Free for Under 12s 🔗 More info: mallgalleries.org.uk