Maqbool Fida Husain, the painter and filmmaker who once stood as a towering figure in Indian modern art, has been largely neglected and sidelined over the last decade. Despite this, his work continues to make waves internationally, fetching staggering prices and receiving critical acclaim. His signature modified Cubist-style, characterized by bold strokes, vibrant colors, and symbolic figures, remains as influential as ever. Recently, his painting titled ‘Gram Yatra’ sold for a record-breaking $13.7 million at a Christie’s auction in New York, the highest amount ever paid for modern Indian art at a public auction.
The Record-Breaking Sale
This latest auction eclipses Husain’s previous record of $3.1 million and surpasses the previous Indian art record held by Amrita Sher-Gil’s painting ‘The Story Teller,’ which was sold for $7.1 million two years ago. ‘Gram Yatra,’ a masterpiece from the 1950s, has once again brought Husain’s name to the forefront of the art world, though the reaction in India remains subdued.
The Troubling Silence
While the art market celebrates the monetary value of ‘Gram Yatra,’ the appreciation for the artist himself remains muted. Despite his stature as one of India’s most recognized artists on the global stage, Husain’s legacy is not embraced by his homeland. This reflects the deep societal polarizations of our times.
Husain’s contribution to art is comparable to the cultural impact of figures like Pandit Ravi Shankar and Ustad Zakir Hussain in music. Born in Pandharpur and raised in Indore, Husain spoke fluent Marathi and Hindi, cherished his Padma Vibhushan, and consistently drew inspiration from India’s visual culture and mythology.
The Controversies
Husain’s decline in acceptance began after a series of controversies over his depiction of Indian goddesses and Bharatmata in styles perceived as provocative. Legal cases were filed against him, his artworks were vandalized, and he faced multiple death threats. Despite private support from friends, artists, and intellectuals, few defended him publicly. Eventually, Husain chose self-exile and passed away in 2011, away from his homeland, in a London hospital.
Conclusion
It is tragic that Husain’s reputation has been overshadowed by controversies surrounding only a small fraction of his work. His contributions to art spanned over five decades, yet he is often remembered only for those contentious pieces. India has effectively disowned one of her greatest artistic minds, a loss that will be felt more acutely as time passes and the true depth of his work is re-evaluated and appreciated on a broader scale.
Author: This news is edited by: Abhishek Verma, (Editor, CANON TIMES)
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