Page 580 - M F Husain The Eternal Master

political unrest did affect him. With the 1960s too being a time but also depicted his thoughts on the atrocities of war. These
of flux for the country, many of his works reflected his own abstract works relied heavily on his skills of creating grandiose
inner turmoil with the situation. His portraiture of Jawaharlal narratives. He was entranced with deities such as Goddesses
Nehru and the aggression that can be seen in his horses during Durga and Lakshmi, and Lord Ganesha, among others; and
this time, are evidence of this. often depicted them alongside their animal companions.

Many other prominent series were born during this
THE 1970s decade. Although Husain had already visited Varanasi in the

60s with Ram Kumar and the latter had returned profoundly
Husain’s oeuvre from the 1970s is characterised by his deep changed, Husain was influenced in the 1970s to create a set of
fascination for Indian mythology. After his initial foray in serigraphs. His affinity for mysticism and putting the themes

the late 1960s, he began to further explore ways to interpret of birth, death and growth onto his canvases can be evidenced
Indian deities in his distinct visual language. This resulted here. Many of these works can be instantly recognised as
in a vast and impressive collection of works making up his Banaras, with the backdrop of the Ganges, the sun rising in
Husain painting in front of a live audience Husain with his signature paintbrush, sitting by one of his works Mahabharat series. The 27 paintings he first started creating the horizon and the iconic boat imagery.
in 1971 were not only a display of his love for Hindu mythology In 1975, his series of 45 watercolours titled ‘Passage

most importantly a blend of realism and abstraction when close attention to the female figure, a subject that would
Husain photographed outside Jehangir Art Gallery Mrs. and Mr. Husain
depicting the human form - all can be evidenced as early as become synonymous with him. Many of his works used
this time period in his career. Ordinary objects such as lamps colours to portray emotions, veering towards abstraction and
and animals like bulls, tigers, elephants were all elevated to hinting at the anatomy of women.

hold deeper meanings. By the end of the 1960s, the female form had further
Works of this time would focus on the human form as evolved owing, in part, to his travels through Kerala. His
the main subject with symbols and nature playing a smaller series of Kerala paintings featured women who were at once
role. The artist also achieved great success, receiving the Lalit confident and sensuous, possibly his stylistic ode to the

Kala Akademi National Award and exhibiting at the São Paulo matriarchal families of the South.
Biennale and Tokyo Biennale for the first time. This, evidently, Also important to note in the 1960s was his affinity for
gave the artist a sense of confidence in his artistic expression, mythology and creating large, impressive works that echoed
which was essential for works to come. the grandeur of the religious tales. Even though he may have
begun painting religious iconography very early on. The year
THE 1960s 1968 seems to have been essential in this journey. Witnessing

a talk by Dr. Ram Manohar Lohia who encouraged painting
The 1960s for Husain can be defined by the evolution of the for the common folk and suggested painting the Ramayana,
female form in his works. While the 1950s saw women being Husain churned out several works inspired by the epic.
depicted through their social characteristics, the 1960s paid Although Husain was not much of a political artist,

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