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Lot Essay
In the name of cubism I tried to invent a new order, and I didn't need the linear limbs of Nataraj to hold its image on its toe in order to continue the dance of the Creator-Destroyer.
(M. F. Husain, 'A.I.R. - 4th July, '69' in M. F. Husain: Pundole Art Gallery 7th Anniversary, 1970, unpaginated).
The Lost Princesses reflects Husain's masterful synthesis of indigenous Indian aesthetics and aspects of European Modernism that have been hallmarks of his unique and acclaimed style.
A luminous palette and skillful economy of line and form, combined with energetically defined impasto strokes create an idyllic, gestural simplicity on a grand scale in this painting. This iconic work encapsulates the artist's notion of rasa (aesthetic rapture) in a meditative, self-contained universe. 'Woman' is a dominant motif explored using vibrant coloration and graceful postures borrowed from Indian dance and reminiscent of temple sculpture. The work also alludes to an archetypal 'Lost Princess' theme culminating in a quest for rescue.
Compositionally the division of space into distinct color planes is a feature derived from the narrative style in Rajasthani miniature painting. This work reflects the artist's astonishing capacity to absorb the entire culture of a region whether it be Kerala, Rajasthan, Andhra, Haryana or Benaras and amalgamate geographical features, architectural style, physiognomy and costume, texture, color, rhythm, legend and folk expression within a single, powerful canvas. True to its title, the figures appear and disappear on the picture plane as one observes the painting. The artist takes pleasure in creating these beautiful and enigmatic princesses playing hide-and-seek with the viewer.
(M. F. Husain, 'A.I.R. - 4th July, '69' in M. F. Husain: Pundole Art Gallery 7th Anniversary, 1970, unpaginated).
The Lost Princesses reflects Husain's masterful synthesis of indigenous Indian aesthetics and aspects of European Modernism that have been hallmarks of his unique and acclaimed style.
A luminous palette and skillful economy of line and form, combined with energetically defined impasto strokes create an idyllic, gestural simplicity on a grand scale in this painting. This iconic work encapsulates the artist's notion of rasa (aesthetic rapture) in a meditative, self-contained universe. 'Woman' is a dominant motif explored using vibrant coloration and graceful postures borrowed from Indian dance and reminiscent of temple sculpture. The work also alludes to an archetypal 'Lost Princess' theme culminating in a quest for rescue.
Compositionally the division of space into distinct color planes is a feature derived from the narrative style in Rajasthani miniature painting. This work reflects the artist's astonishing capacity to absorb the entire culture of a region whether it be Kerala, Rajasthan, Andhra, Haryana or Benaras and amalgamate geographical features, architectural style, physiognomy and costume, texture, color, rhythm, legend and folk expression within a single, powerful canvas. True to its title, the figures appear and disappear on the picture plane as one observes the painting. The artist takes pleasure in creating these beautiful and enigmatic princesses playing hide-and-seek with the viewer.