Celebrating M. F. Husain—One of India’s Most Iconic Artists

Born in 1915, M. F. Husain spent his early years growing up in Pandharpur, Maharashtra, a town steeped in religious and cultural significance. His life there was shaped by the vibrant community around the Vithoba Temple, where his family, part of a small Muslim community, adopted the local Marathi language and attire. The traditional sarees worn by the women, including his mother Zaineb, later appeared in his art, draping his female figures.

Husain’s mother’s death when he was a toddler left a deep emotional void. His grandfather, a tinsmith, played a significant role in his upbringing. This relationship, along with his experiences of local religious and cultural events, deeply influenced his artistic vision. The Muharram processions, with their symbolic horses Bada Duldul and Chhota Duldul, became recurring motifs in his work.

The family’s move to Indore, where his father worked in a textile mill, introduced Husain to a blend of British and Indian cultural elements. Here, Husain’s exposure to classical music and his experiences with horses further enriched his artistic sensibilities. He began to explore his passion for painting through various odd jobs, eventually finding a mentor in artist N. S. Bendre. Husain’s formal art training at the Indore School of Arts solidified his path as a visionary artist.

After leaving the Indore School of Arts, Husain enrolled in the Sir J. J. School of Art in 1934 but faced financial difficulties that forced him to briefly return to Indore. In 1936, he returned to Bombay, where he lived on the pavements near Grant Road Station, surrounded by cinema halls and a lively red-light district. Despite his financial struggles, Husain’s talent shone through in his early portrait works, including paintings of his friends’ mothers.

To sustain himself, he took up a job painting cinema hoardings, initially as an assistant and later independently. His innovative method of enlarging images quickly gained attention. In 1941, he married Fazila and, facing mounting responsibilities, shifted to designing nursery furniture and toys. Despite these changes, Husain’s creative spirit remained undiminished, and his work continued to reflect his artistic passion and innovation.

In 1947, M. F. Husain, at a crossroads in his life, left his stable job at Fantasy Furniture to pursue art full time, driven by a deep-seated belief in his artistic destiny. His decision was both bold and risky, given his growing family and uncertain financial future. The same year, he showcased his work at the Bombay Art Society exhibition, earning acclaim for Sunehra Sansar.

This period was pivotal not only for India’s independence but also for its modern art movement. Husain joined the Progressive Artists’ Group (PAG) in 1948, founded by F. N. Souza. This collective challenged artistic norms and profoundly influenced Husain’s style, integrating Indian classical influences with vibrant colors, shaping his iconic approach to modern art.

M.F. Husain’s career from the 1950s onwards marked a dynamic and transformative period in his artistic journey. Emerging from the shadows of obscurity, Husain navigated through an evolving landscape of influences, themes, and styles, solidifying his place as a preeminent figure in both Indian and global art circles.

This decade was marked by a profound shift in his subject matter and techniques. In the wake of India’s partition, Husain sought to articulate a sense of national identity that was both inclusive and introspective. He turned to the simplicity and resilience of rural and tribal life as a source of inspiration. This period saw him delving deeply into the lives of these unassuming people, reflecting a profound admiration for their culture and resilience.

Husain’s artistic horizons expanded significantly during this decade, also fueled by extensive travels. In 1952, he visited China, where he met the venerable Chinese artist Chi Pei She. This encounter offered Husain a rare glimpse into Chinese artistic traditions, enriching his understanding of diverse artistic expressions. The following year, his travels took him to Europe, where he immersed himself in the works of masters like Emil Nolde, Paul Klee, Cimabue, Giotto, Masaccio, and Paolo Uccello.

Husain was particularly struck by Paul Klee’s work, which influenced his approach to color and form. The structured compositions of Paul Cézanne and the bold, flat colors of Henri Matisse, inspired by Japanese prints, left a lasting impression. Although he was less enthralled by Pablo Picasso’s distorted forms, he appreciated the new language of modern art Picasso introduced. These experiences helped shape Husain’s evolving style, blending Western techniques with his unique vision.

In 1956, Husain created Between the Spider and the Lamp, a notable departure from his earlier playful style. The painting’s solemnity and enigmatic composition demonstrated a deepened artistic vision. This work featured two young female figures with averted faces, a mysterious matriarchal figure, and an abstracted background, reflecting a complex interplay of togetherness and detachment.

During this early period, Husain’s works were showcased in significant exhibitions, including his first solo show in Bombay in 1950, followed by another in Calcutta that explored rural themes. Despite facing severe criticism for the latter, Husain’s persistence paid off with a successful exhibition in Delhi. His international presence was solidified through exhibitions at the Salon de Mal in Paris, the Venice Biennale, and winning accolades at the Sao Paulo Biennale and Tokyo Biennale.

The 1960s marked a thematic shift in Husain’s work, focusing on the female form as a central motif. While the socio-political climate of India during this period was turbulent, Husain’s art maintained a personal and introspective focus. His fascination with the female figure evolved from a formal study to a more profound exploration of womanhood, emotion, and desire.

Husain’s depiction of women became more sensual and expressive, transcending mere social characterization. His paintings from this era celebrated the essence of femininity, capturing emotions and stories through bold and often provocative imagery. This exploration of sensuality was a hallmark of his work during the 1960s and continued to be a significant theme throughout his career.

As Husain moved into the 1970s, his art began to explore spiritual and mythological themes. Drawing from India’s rich tapestry of mythology, Husain depicted deities from Hinduism and Islam with vibrancy and reverence. His engagement with these themes culminated in Theorama, a monumental ten-panel series created in the early 1990s. This work celebrated ten globally followed faiths, showcasing Husain’s commitment to inclusivity and his visionary approach to art.

Another significant aspect of Husain’s later work was his portrayal of animals. His depictions of horses, bulls, tigers, and other creatures became iconic. The horse, in particular, was a recurring motif, symbolizing grace and strength. Husain’s ability to capture the majestic essence of these animals added a dynamic and primal energy to his work.

M. F. Husain’s career is a testament to a continuous evolution in style, themes, and influences. His ability to blend diverse influences and transcend societal boundaries made him a true visionary in the world of art. His legacy continues to inspire and captivate audiences, celebrating the timeless beauty of human and natural forms.

Author’s bio 

Sunny Chandiramani is the resident modern Indian art specialist at AstaGuru. She joined the auction house in 2013 and now has over seven years of experience in this industry. Since joining AstaGuru, Sunny has contributed to over 25 successful auctions. One of the things she cherishes about working in this segment is the opportunity to view firsthand the works of various modern Indian painters who have left quite a legacy. Being a veteran in this field, she understands not only the importance of each artwork but also the market fundamentals and statistics.