Pundoles Ode to MF Husain this June

Time of India

05-06-2025

Critic and Curator Uma Nair has been writing for the past 35 years on art and culture She has written as critic for Times of India and Economic Times. She believes that art is a progressive sojourn. She learnt by looking at the best shows in Washington D.C. and New York. As author her most important books are Reverie with Raza and Meditations on Trees by Ompal Sansanwal. LESS ... MORE
21 Lots created in 2004, under the acronym OPCE ( Our Planet Called Earth ) go under the hammer at Pundoles on June 12th, 2025. These 21 works belonging to an original set of 100 works are Husain's paean to the earth on World Environment Day 2025.
One of the most articulate as well as artistic voices in newly independent India, Maqbool Fida Husain 'has been unique in his ability to forge a pictorial language which is indisputably of the contemporary Indian situation but surcharged with all the energies, the rhythms of his art heritage'.
This epic sale at Pundoles reflects the journey of Husain, between latitude and longitude, of how he was drawn to images that captured the true essence of Indian traditions as well as international lifestyle, whether it was in urban or rural settings.
M F Husain's words of 1959 swing back :
A cartload of leaking milk
Lights up the lane
And a boy begins
to eat up the town
With shoeless walks
On empty steps
We cruise through stirring 21 Lots and see that he frequently drew from his own childhood experiences and memories to create paintings that were grounded as well as legitimate. These works at auction reaffirm Husain's lasting international resonance, securing his place as one of the most influential modern artists of twentieth-century India.
It was Ebrahim Alkazi who said that it was this melding of experiences and memories that made Husain paint ' with the same visceral truthfulness and sense of commitment as the woman grinding corn, the potter at his wheel and the same lack of pretension.'
Still life with Carl Jung
His still life study of a chair with 4 books in Lot 4 ,has a rifle, a vintage hunter's hat and a single boot as an ensemble to create a story of specifics. The hunter's hat and rifle add to the pain and pleasure of hunting. The books are a lexicon in satire and fame.This work is also a testimony to time, specially Carl Jung whose book lies under the chair while Karl Marx's Das Kapital , Rabindranath Tagore's Gitanjali and TS Eliot's Wasteland sit on the chair. Between these four texts we see a running commentary of the publishing dynamics that ruled the world in the 20th century. Masterfully rendered with Husain's confident contours and an evocative yet elegant palette it is the consonance of the visual and the verbal, the power of the human mind of great writers as well as T.S Eliot's poetry that bring back his words so many years hence:
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
Antiquity and modern dancers
Two works that translate the beauty of dance at Lot 5 & 6, are a treat for tired eyes.The first one is a contemporary composition of a western dancer with a dove resting on his hand while a bottle of wine rests on his raised foot.Husain had watched Merce Cunnigham in New York and came back to discuss it at Vadehra Art Gallery in 2004. ' I watched him create surprise in an instant. A critic who sat next to me said that Cunnigham liberated dance from established practice as well as historic convention.' In a quaint way Husain too celebrated the infinite possibilities of human movement just like Cunnigham and this portrait bears this truth in all its moods as well as a sense of reverie.
The second work has two women.At once ethereal and earthy, Lot 6 has a pair of vertical feminine figures who are at once a blend of the ethereal as well as the sculptonic earthy symbolism. The ethereal is one takes a swirl as she is attuned to the contemporary choreography of a modern dancer while the second reminds us of Devis.The little Ganesha in her hand is a reminder of the fact that Husain was well acquainted with rasa and he wanted to play between the contrasts of being in movement as well as anchored. In these two feminine forms created in subtle strokes we see how he tuned himself into the disciplines of several performing arts.
For Husain , his paintings were pulsating visual narratives of the vibrations of dance, music and sculptural intensities presented in a thrust of jagged thrust lines and colours. The feminine form for Husain was an ' abbreviated rhythmic stroke of the universe.' These two figures are born of a distinctive visual language ,conveying a refined poetic sensibility and quiet elegance.
Nataraja in tandava
The image of a sculptural Nataraja Lot 7, in smooth, sleek lines is a dulcet image of soft, secular detailing. Let's not forget his knowledge of Indian mythology was deep. Most of his collectors too were staunch Hindus with deep faith. Myth for Husain was perhaps more than an umbilical attachment. Myth was born of the beauty of stories that rippled amidst the human figures that strode his canvases.
This figure of the pared down minimalist Nataraja in Tandava is a celebration of a composite Indian culture in which the scale and scope is one that brings alive the unforgettable Lord of the dance. However it is the sand coloured , shaded image that catches our intrigue and we wonder at the many references that flow out of its graceful poise. Human hands and feet for Husain were more than mere limbs ,they were vehicles of power in the ultimate principle of human existence.
Gandhi in monochrome
Gandhi in monochrome at Lot 8, with a dove replacing his face, is a date with India's freedom struggle. The pocket watch, the dhoti, the many people following during the Dandi and the lone sickle wielding farmer all become a page of the past and the present. Gestures and grace weave into the firmament of politics and realities. In the paradoxes of life's acts and scenes he made an elegant and eloquent dissection of space, lines and angles.He kept reinventing figure and form with the strokes of prismatic precision.
Ebrahim Alkazi elegantly encapsulated in his monograph on the artist, 'behind every stroke of the artist's brush is a vast hinterland of traditional concepts, forms, meanings. [Husain's] vision is never uniquely his own; it is a new perspective given to the collective experience of his race […] Husain's concept is intensely poetic: with a stroke of genius, the entire mythic world which has enriched the minds of the common people is brought vividly alive. Past and present, myth and reality are shown to exist simultaneously in the Indian imagination' (E. Alkazi, M. F. Husain: The Modern Artist & Tradition, New Delhi, 1978, p. 17).
Humphrey Bogart leaning on a lamppost
Husain was an artist with wings on his feet.His travels around the world sharpened his wit and humour. Humphrey Bogart at New York (Lot 2) leaning against a lamppost is both kinetic as well as cinematic. At once we recall the unforgettable Casablanca. Husain followed Indian as well as international traditions of dance and drama, music and cinema to create his own corollaries in conversation. Art born of tradition skewed into contemporary format became his catalyst. And Bogart was a symbol of the classics in cinematic history. In this painting he replays a scene, and the hound that nestles against the lamppost is a canine star. Strokes for Husain were lean and lithe.
' He can draw and paint with complete surrender to the sound and graphic representations of these modes. Musical rhythm or pure sound finds its way easily into the schemes of the paintings' (R. Shahani, Let History Cut Across Me without Me, New Delhi, 1993, p. 1).
IMAGES: PUNDOLES
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