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拍品专文
One of the strongest 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”. He was drawn to images that captured the essence of Indian life and traditions, be it in either urban or rural settings, and frequently drew from his own childhood experiences and memories to ground and legitimize his work. This allowed Husain to 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” (E. Alkazi, ‘M.F. Husain: The Modern Artist & Tradition’, Art Heritage, New Delhi, pp. 3-4).
In the 1950s, Husain embarked on several trips around India, notably through the colorful countryside of Rajasthan. He was heavily inspired by rural life, which he idealized in his work as being closest to the essence of Indian sensibility. The present lot, an early and tender portrayal of a traditionally attired mother and her young daughter, moves beyond expression of sentiment to show Husain’s admiration for women as the foundation of society and leaders of village and home affairs.
Speaking about the artist's early female figures, the critic Richard Bartholomew noted, “There is a tender feeling of compassion, of trust, of an obsession with private and individual lives, of investigation into, and exploration of the provinces of passionate memory, hope, desire, and submissive doubt. This opens up for the spectator a silent world in which the dramatis personae think, and where the stances, and the coupling and grouping, suggest autonomous sensibility [...] Husain is in his most dynamic phase and his discoveries, I dare predict, will condition the shape of much of the contemporary Indian painting to come” (R. Bartholomew, ‘Forty Works by M.F. Husain’, Thought, 14 December 1957).
In the 1950s, Husain embarked on several trips around India, notably through the colorful countryside of Rajasthan. He was heavily inspired by rural life, which he idealized in his work as being closest to the essence of Indian sensibility. The present lot, an early and tender portrayal of a traditionally attired mother and her young daughter, moves beyond expression of sentiment to show Husain’s admiration for women as the foundation of society and leaders of village and home affairs.
Speaking about the artist's early female figures, the critic Richard Bartholomew noted, “There is a tender feeling of compassion, of trust, of an obsession with private and individual lives, of investigation into, and exploration of the provinces of passionate memory, hope, desire, and submissive doubt. This opens up for the spectator a silent world in which the dramatis personae think, and where the stances, and the coupling and grouping, suggest autonomous sensibility [...] Husain is in his most dynamic phase and his discoveries, I dare predict, will condition the shape of much of the contemporary Indian painting to come” (R. Bartholomew, ‘Forty Works by M.F. Husain’, Thought, 14 December 1957).