Page 21 - M F Husain The Eternal Master

blending sensuality and spirituality. It was a revelation for possibilities of incorporating strong, vivid colours such as
Husain. Indian classical art, he discovered, celebrated life in Indian yellow and red into his canvases. These hues would
all its dimensions: religious, spiritual, and sensuous. He was soon become his signature, his artistic voice.
struck by the unabashed voluptuousness and even eroticism Fortunately for Husain, the experience in Delhi
of the female forms in Indian art. coincided with a time when he had already tasted some

On the other hand, exquisite Basohli miniatures from success as an artist and was mentally primed to explore the
the 17th and 18th centuries, originating from the hill state rich traditions that could fortify his unique strengths and
of Jammu, had a profound impact on his artistic psyche. fashion his distinctive style.
Notably, it’s conjectured that the early artists of the Basohli In that same year, Husain created five paintings that
School had migrated from the Malwa region, which included traversed the vast tapestry of Indian history. Among these,

Indore, Husain’s hometown. his tribute to Basohli miniatures and the classical period of
Husain’s experience as a painter of cinema-hoardings the Guptas stood out, capturing the essence of Indian art in
had already instilled in him a sensitivity to the potent allure ways that would define his oeuvre for years to come.
of bold and striking colours. However, this encounter with The 1940s were a period of transition and transformation
the Basohli miniatures awakened him to the uncharted spanning both for India and Husain. As the nation embarked

The artist in the Cast Courts at the Victoria and
Albert Museum, London, 1990

M F Husain giving final touches to a painting

in 1947. The PAG was more than just a group of artists; it was a life and career and, at the same time, revolutionize the
movement. A rebellion against the established norms of the modern art landscape in the country.
art world, it sought to challenge, provoke, and transcend the In the winter of the same year, Husain and Souza
boundaries of artistic expression. travelled to New Delhi to see an exhibition of Indian classical

Husain joined the informed collective in 1948 on sculptures and miniature paintings being held at the
the invitation of F.N. Souza. For an outsider navigating Rashtrapati Bhavan. Among the exhibits, the Buddhist and
the bustling Bombay art scene, PAG swiftly evolved into a Hindu sculptures of the Mathura School and Gupta period
brotherhood that would leave an indelible mark on Husain’s exuded elegance and mysticism, with the latter seamlessly

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