Lightning by M F Husain

LIGHTNING

BY M.F. HUSAIN

LIGHTNING

BY M.F. HUSAIN

Lightning was created in 1975, during a controversial period in India’s history, to be the backdrop of then Prime Minister Indira Gandhi’s Emergency speech.

Titled Lightning, because it came about in a flash, the masterpiece was made up of twelve massive panels with ten wild, white horses charging through an open space. The significance of the painting is heightened not only by its sheer size or brilliant rendering but also the by times it was executed during and the ideologies it stands for. This book was conceived in honour of Husain, and various anecdotal stories and interviews on the painting form a part of this book.

It is an attempt to create a whole story around this masterpiece; every brush stroke and every inch of the canvas has a story, secretly tucked away in the midst of the powerfully rendered horses, that is left for the beholder to decipher.

124 photographs b

LIGHTNING

BY M.F. HUSAIN

Lightning, a painted mural made for the Congress party campaign, was unveiled at a public rally at Bombay’s Shivaji Park in 1975.1 This was the year of the imposition of the Emergency. As such, this work annotates Husain’s engagement with an Indian modernism in a specific political context, but relays back to contexts that defy historical and spatial time frames.

Gayatri Sinha

LIGHTNING

BY M.F. HUSAIN

With Contributions by Susan S. Bean Daniel Herwitz Tom Keehn Prasannan Parthasarathi Gayatri Sinha Boon Hui Tan

Published on the occasion of the exhibition “M.F. Husain: Art and the Nation” organized by Asia Society, New York March 20, 2019–August 04, 2019 First published in the United States of America in 2019 by TamarindArt and Kent Srikanth Charugundla 142 East 39th Street, New York, NY 10016 www.tamarindart.com in cooperation with Asia Society Museum, New York 725 Park Avenue New York, NY 10021 www.asiasociety.org and Mapin Publishing Pvt. Ltd 706, Kaivanna, Panchvati, Ellisbridge Ahmedabad 380006 INDIA T: +91 79 40 228 228 • F: +91 79 40 228 201 E: mapin@mapinpub.com • www.mapinpub.com Originally published privately in 2007 by TamarindArt and Kent Srikanth Charugundla © TamarindArt and Kent Srikanth Charugundla, 2007 and 2019 F.N. Souza, “Still Life” © Estate of F.N. Souza.

All rights reserved, DACS / ARS 2019.

The images of S.H. Raza’s Untitled (p. 14) and Sapna (p. 99) are reproduced with the permission of the Raza Foundation, New Delhi © Raza Foundation, New Delhi The image of Krishen Khanna’s Dusk (p. 15 above) is reproduced with permission of the artist © Krishen Khanna The image of Ram Kumar’s Figurative (p. 15 below) is reproduced with the permission of the family of the artist © Ram Kumar Best efforts have been made to obtain permission for: V.S. Gaitonde, Untitled (p. 16) Tyeb Mehta, Untitled (Lovers) (p. 17) from the Diagonal series Akbar Padamsee, Joker (p. 18) Bal Chhabda, Christ Head, Crucifixion, and Lady Liberty (p. 19) All rights reserved under international copyright conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. The moral rights of the authors of this work are asserted.

The moral rights of Tom Keehn, Susan S. Bean, Daniel Herwitz, Gayatri Sinha, Prasannan Parthasarathi, Boon Hui Tan, M. F. Husain, Marguerite Charugundla, and Kent Charugundla as authors of this work are asserted.

Executive Editor, Concept, Design, and Project Manager: Marguerite Charugundla Editor: Sarina Charugundla Proofreading: Marilyn Gore / Mapin Editorial Editorial support: Neha Manke / Mapin Editorial Graphic Design support and Typesetting: Sajeer Shamsudeen Professional Photographer of the painting Lightning: Chris Burke Studios Supporting Photographer: Chandra Mouli Events Photographers: Brandon Keuchkerian and Sirish Birru Logistics India: Steven Amulya Production: Gopal Limbad / Mapin Design Studio Printed at Thomson Press (India) Ltd. ISBN-13: 978-0-9794495-0-5 (TamarindArt) ISBN-10: 0-9794495-0-2 (TamarindArt) ISBN-978-93-85360-68-8 (Mapin) The publisher has undertaken no independent verification of any facts or information presented by the author. The publisher, therefore, makes no representation, express or implied, with regard to the accuracy of the information contained in this [book] and cannot accept any legal responsibility for any errors or omissions that may be made.

International Distribution Worldwide (except North America and South Asia) Prestel Publishing Ltd. 14-17 Wells Street London W1T 3PD T: +44 (0)20 7323 5004 • F: +44 (0)20 7323 0271 E: sales@prestel-uk.co.uk North America ACC Art Books T: +1 800 252 5231 • F: +1 212 989 3205 E: ussales@accartbooks.com • www.accartbooks.com/us/ South Asia Mapin Publishing Pvt. Ltd

Contents Foreword

7

Acknowledgements

9

Kent Charugundla

Marguerite Charugundla

Journey of the Lightning, its Creator and the Progressive Movement

11

A Personal Commentary

27

Biography

31

The Advent of a Masterpiece

33

The Roar of Crores

39

East Meets East in Husain’s Horses

41

Like Thunder and Lightning

47

A Narrative of Nation

83

Husain’s Journey

91

Troublesome Entanglements: Art and the Asian Nation

97

Marguerite Charugundla Tom Keehn

M.F. Husain

Sarina Charugundla M.F. Husain

Susan S. Bean

Daniel Herwitz Gayatri Sinha

Prasannan Parthasarathi Boon Hui Tan

In Conversation with M.F. Husain

107

The Unveiling of Lightning in New York

113

M.F. Husain

117

Selected Exhibitions

124

Contributors’ Biographies

129

Marguerite Charugundla

6

KENT CHARUGUNDLA

Foreword Every artist has his/her zenith where energy is

with his language, Daniel Herwitz, on the other hand,

boundless and creativity is at its peak. The painting,

addresses Lightning as his main subject and situates it

Lightning, was born under such auspices in the

in its socio-political context. However, his approach is

year 1975. It was a critical time in Indian politics—

also more semiotic in nature and therefore presents

activists and artists alike expressed their feelings

a personal interpretation of the various colors and

in various forms through different media. It was at

forms used by the artist in this painting. Prasannan

this time that Husain created Lightning for a political

Parthasarathi’s essay focuses on Husain as an artist

gathering in Bombay that was led by Indira Gandhi.

and on his contribution to modern Indian art.

The significance of the painting is heightened not

Gayatri Sinha’s piece is quite academic in nature.

only by its sheer size or the brilliant rendering of its

She situates the painting in its historical context and

subject by the artist but also the time it was executed

further explains the symbols used by the artist and

and the ideologies it stands for.

their significance in relation to the current situation

This book was conceived in honor of Husain,

under which they were painted. Similar to Sinha’s

who has always been extremely gracious, hospitable

essay, Boon Hui Tan’s essay is very academic in

and who paved the way to my deeper understanding

nature, where he talks about the painting Lightning

of contemporary Indian art. It is through Husain that

and its historic significance in the year that Prime

I learned the importance of various leading trends

Minister Indira Gandhi imposed a state of Emergency

and schools of Indian art, how to appreciate a work

across India, and further talks about the multitude of

of art and what to collect. He introduced me to all the

visual references to India in the 1970s and many of

other senior artists who were his contemporaries, as

the challenges and controversies facing India at the

well as younger talents. Husain was the catalyst in

time. He also expands to compare Indian art in the

expanding my horizon to the contemporary Indian

Emergency period to the Cultural Revolution in China

art scene, and to date continues to help me in my

and the art within a changing political context.

endeavors in collecting and promoting Indian art in

the United States.

Lightning form a part of this book. It is an attempt to

Selected authors were invited to write on

create a whole story around this masterpiece; every

Lightning and each essay is beautifully composed

brush stroke and every inch of the canvas has a story,

and addresses the painting as well as its creator

secretly tucked away in the midst of the powerfully

from various angles. Susan S. Bean, in her essay,

rendered horses, that is left for the beholder to

seeks out the sources of inspiration for Husain and

decipher.

Various anecdotal stories and interviews on

his fascination for horses from the East. Flamboyant 7

8

MARGUERITE CHARUGUNDLA

Acknowledgements

When we decided to republish this book, it felt

We also would like to extend our appreciation to

right. When was a better time to publish the second

Khalid Mohamed and the late M.F. Husain for having

edition than on the occasion of the exhibition The

allowed us to reprint the spread on Lightning from

Progressive Revolution: Modern Art for a New India

his publication.

and M.F. Husain: Art and the Nation, organized and

showcased by the Asia Society Museum of New York.

publish this book in conjunction with the exhibition

It was the first comprehensive exhibition dedicated to

of M.F. Husain: Art and the Nation, March 20 through

the artworks of the Progressive Artists’ Group. Thanks

August 4, 2019 at Asia Society Museum of New York

to the curator and museum director, Boon Hui Tan and

and part of the Progressive Revolution: Modern Art

guest curator, Dr. Zehra Jumabhoy for such a major

for New India and the Triennial. Also many thanks

undertaking and making this exhibition possible

to Boon Hui Tan and Asia Society for allowing us to

and a great success.

include Boon Hui Tan’s essay about the Progressive

Artists’ Group and the mural Lightning.

The publishers would like to express their

Thank you to Asia Society for allowing us to

appreciation to all those who have generously given

their time, made their resources available, and given

to the General Manager and staff of the Maurya

valuable feedback to make this book a success.

Sheraton Hotel (New Delhi) for accommodating

M.F. Husain’s request to close down the lobby in order

Our utmost gratitude goes to the contributors,

We would like to extend our special thanks

Susan S. Bean, Daniel Herwitz, Prasannan Parthasarathi,

to show the Lightning mural in its full glory.

Gayatri Sinha and Boon Hui Tan, for their brilliant

essays, as well as Tom Keehn, for his personal commentary.

instrumental in making this process easier and

Many thanks are in order for the Peabody

productive, without whom this book would not

Essex Museum for allowing us to use images from

have been possible, which includes the lighting and

their collection for Susan Bean’s essay.

music engineers, the photographers, the organizers,

Lightning was the subject of a publication for

the first time in the book titled Where Art Thou: M.F.

There are number of others who were

the editors, the graphic designers, illustrators, event coordinators and art handlers.

Husain—an Autobiography with Khalid Mohamed.

9

Lightning Horses as metaphor for tremendous energy, and exquisite grace and beauty. There are ten horses cutting across the horizon like lightning, and in between appears a baby horse wearing the nuclear crown, an indication that the world has entered the most dynamic nuclear era of its billions of years of existence. Here, there on the canvas, a few images of industry, agriculture, progress and family planning are inserted. The bold, black brush-strokes are like calligraphic form. In a way these black strokes become a “writing on the wall.� The world should take a note of it!

M.F. Husain, 2003

10

MARGUERITE CHARUGUNDLA

Journey of the Lightning, its Creator and the Progressive Movement Lightning was created in 1975, during a very

controversial period in India’s history, to be the

as the “Picasso of India,” was born on September 17,

backdrop of the then Prime Minister Indira Gandhi’s

1915 in Pandharpur in Maharashtra, India. M.F.

Emergency speech. Given the short time frame

Husain was a self-taught artist living on the meagre

that Husain had to complete the work, it was titled

funds he received from painting Bollywood movie

Lightning, because it came about in a flash. The

posters. In 1935, he began to receive formal training

masterpiece was made up of twelve massive panels

at the J.J. School of Art in Mumbai. He applied the

with ten wild, white horses charging through an

modernist concepts of Matisse and Cezanne to create

open space. The depth in the painting is captured

masterpieces that portrayed Indian life in society.

by coloristic blues and greens that go from dark to

He began to garner national and international

light following the progression of horses. Husain’s

recognition in the 1940s. In 1947, he co-founded the

striking black lines that outline the horses stand out

Progressive Artists’ Group (PAG) with five others.

juxtaposed against the whites of their bodies. They

resemble his billboard style, so that anyone viewing

F.N. Souza, S.H. Raza, K.H. Ara, H.A. Gade, S.K. Bakre

the work either up-close or from afar could see it in

and M.F. Husain, whose operations were based in

its full glory. Husain painted a nuclear crown above

Bombay (Mumbai). Each artist brought a unique

the head of a foal in a red semicircle, a red tank at

style influenced by European modernists, which

war, and a bushel of wheat rising behind the last

allowed different perspectives and influences in

horse in the flock as a sign of the nuclear era, the

their art as they became globally renowned.

Partition, and agriculture in India. The painting

included depictions of family planning, farmers and

which raised concerns and criticism in India. He was

their families, and a builder with an axe in hand. The

later guided by the group and started creating

work portrayed the political climate of the time in

astonishing art that shaped India.

India post-separation.

Maqbool Fida Husain, commonly referred to

The six founding artists of the PAG were

K.H. Ara was mostly involved in female nudes,

S.K. Bakre was the only sculptor in PAG. His 11

works presented the face of India after colonialism

and paintings that depicted modern art, which was

and the relationship between man and nature.2 He

ahead of its time.1

also created paintings with geometric abstraction

F. N. Souza (fig. 2) brought a level of expressionism

(fig. 4) that usually left off at a bindu, or a point, that he

to his works of nudes, human figures, sexuality and

talked about with several of his works of art.3 As Raza

religious conflict between Christianity, Buddhism,

was the co-founder of PAG, he was very supportive

and Islam. He expressed his feelings concerning the

of the Progressive Artists’ Group movement and he

struggle during British colonialism in India. He was

initiated Gade into the group.4

an internationally recognized artist.

which allowed the artists to contribute ideas to one

M.F. Husain focused on cubism with scenes

involving Indian history and methodology (fig. 3).

S.H. Raza represented the nature of India

Each PAG artist had his own signature style,

another.

(figure 2) F.N. Souza, Still Life 1

2

3 4

12

Boundless: India (2011). Available from: www.sothebys.com/en/auctions/ecatalogue/2018/boundlessindia-in1801/lot.28.html Progressive Artists Group (PAG): The artists who revolutionized Modern Indian Art (Oct 15, 2016).

Available from: https://asiasociety.org/new-york/exhibitions progressive-revolution-modernart-new-india Progressive Artists’ Movement. https://www.artsy.net/gene/progressive-artists-movement The Progressive Artists’ Group and Its Impact on Indian Modern Art (April 24, 2017). Available from: https://www.artisera.com/blogs/expressions/the-progressive artists-group-and-its -impact-onindian-modern-art

(figure 3)

M.F. Husain,

High Tea, 1985, from the Raj Series Published in the book by Sumathi Ramaswamy titled, Husain’s Raj: Visions of Empire and Nation (pages 98, 99)

13

The founding members believed that India required a revolution to achieve their common goal of independent art, just as India gained political independence from Britain.5 During this time, only the art institutions governed

by Britain held exhibitions, allowing them to dominate the market and control Indian art. The two institutions were the Government College of Art & Craft, Calcutta and the Bombay Art Society.6 The PAG sought to allow artists control over their technique and content.

Souza, the leading member, and his team worked closely with the Progressive Writers’ Movement in rejecting the monopoly of these institutions, which (figure 4)

S.H. Raza, Untitled

gave them the title “Progressive Artists’ Group.” Many other artists such as Ram Kumar,

The group aimed to break free from the

Krishen Khanna, V.S. Gaitonde, and Tyeb Mehta, later

nationalist Bengal school of art and take Indian

joined the group. Kumar was known for his abstract

art to a global level. A new movement started

landscapes, usually in oil or acrylic (fig. 5), and Khanna

when the group encouraged Indian avant-garde

is known for gestural style and thick impasto surfaces

artists of all skill levels to reclaim their freedom of

(fig. 6). While Gaitonde’s works are known for evoking

expression through a global perspective, similar to

subliminal depths, with plain, large surfaces with

European modernists. The PAG was also known as

paint layered that subtly characterize his work (fig. 7),

the Magnificent Six and Modern Artists of India. The

Mehta’s work was characterized by matt surfaces,

group was formed after Partition.

diagonal lines and images of anguish (fig. 8).

5

6

14

The Progressive Revolution: Modern Art for a New India (Sep 14, 2018). Available from: www.eikowa.com/blog/progressive-artists-group-pag-the-sextet-of-artists- that- incited-an-artisticrevolution-in-post-independence-india The Legacy of the Progressive Artists Group and the Importance of Secularism in India (2018). Available from: https://frieze.com/article/legacy-progressive-artists-group-and-importance-secularism-india

(figure 6) Krishen Khanna, Dusk Exhibited at the Queens Museum 2016, After Midnight: Indian Modernism to Contemporary India, 1947–1997

(figure 5) Ram Kumar, Figurative

15

(figure 7)

V.S. Gaitonde, Untitled

Exhibited at Asia Society Museum of NY, The Progressive Revolution: Modern Art for a New India, 2018–2019

16

(figure 8) Tyeb Mehta, Untitled (Lovers) from the Diagonal Series Exhibited at Asia Society Museum of NY, The Progressive Revolution: Modern Art for a New India, 2018–2019 Exhibited at the Queens Museum 2016, After Midnight: Indian Modernism to Contemporary India, 1947–1997 17

Akbar Padamsee (fig. 9) and Bal Chhabda (fig. 10)

space, time and color can be seen in many of his

did not join the PAG but were very connected to

works as can be seen in his painting Joker (fig. 9).

the group. Padamsee’s works range from figurative

He aided in shaping the perception of art in India

to non-objective. His expressions of form, volume,

and as they gained global traction.

Bal Chhabda, a self-taught artist who lived in Mumbai, began painting in oils in the late 1950s. He was famously adverse to both the market and publicity. His works were mostly in oil, with very bold lines and vibrant colors as can be seen in the Christ Head, Crucifix and the Lady Liberty paintings (figs. 10, 11 and 12).

(figure 9)

Akbar Padamsee

Joker

18

(figure 10) Bal Chhabda, Christ Head Exhibited at TamarindArt, 50 Years of Bal Chhabda, a retrospective

(figure 11)

Bal Chhabda, Crucifixion

Exhibition at Delhi Art Gallery, India’s Rockefeller Artists, New York | Nov 7, 2017–Mar 3, 2018 (page 3)

(figure 12) All works that are illustrated here are from Bal Chhabda’s exhibition at TamarindArt, 50 Years of Bal Chhabda, a retrospective of the artist in New York in 2006.

Bal Chhabda, Lady Liberty

Part of the publishing of the exhibition at Delhi Art Gallery, India’s Rockefeller Artists, New York | Nov 7, 2017–Mar 3, 2018 (page 380) 19

After establishing himself as a prolific and

figure, known for his eccentric yet iconic lifestyle

well-known painter within the group, Husain

and artwork.

transferred his artistic talents to the film industry. He

developed his first film, Through the Eyes of a Painter,

taken with his work, and after acquiring Lightning in

in 1962, and premiered it at the Berlin Film Festival

2002, they exhibited the painting for the first time at

Kent and Marguerite Charugundla were

(figure 13),

M.F. Husain, Voyage of Discovery, 2005

Exhibited at TamarindArt, Husain99, 2014.

where it won a Golden Bear, an award granted

TamarindArt in 2003. He painted several artworks while

to the best film at the festival. Additionally, he

he was in New York, including his largest painting,

created two more movies, entitled Gaja Gamini and

his autobiography, Voyage of Discovery. He created

Meenaxi: A Tale of Three Cities. Husain split his time

his life’s work in 2005 on a single canvas (fig. 13).

between Dubai, London and New York, but travelled

frequently. His work did not stop there, while in

of its most beloved painters on June 9, 2011 when

Qatar, he worked on three major projects: the history

Husain passed away at the age of 95 in London

of Arab civilization, the history of Indian civilization,

due to complications related to the heart condition

and a celebration of 100 years of Bollywood cinema

he had been battling for nearly two months. M.F.

in 2011.7 As he traveled, he was known for his long

Husain’s legacy and international presence will live

white beard, shoeless feet and paintbrush-shaped

on through his exquisite paintings, pencil drawings,

cane. M.F. Husain was an instantly recognizable

watercolors, prints, sculptures and films.

The international art community lost one

7 M.F. Husain biography: paintings, life history, achievements, facts. Available from: https://www.google.com/amp/s/www.culturalindia.net/amp/indian-art/painters/m-f-hussain.html

20

From the left: Sakina Mehta, Maqbool Fida Husain, Bal Chhabda, and Tyeb Mehta

The Progressive Artists’ Group and their spouses, including Syed Hyder Raza, Bal Chhabda, Akbar Padamsee, Krishen Khanna and Tyeb Mehta 21

M.F. Husain painting live, the Renaissance canvas at TamarindArt, early 2000s

22

M.F. Husain Renaissance

23

The Progressive Artists’ Group celebrating an opening From left: Bal Chhabda, Tyeb Mehta, Krishen Khanna, Syed Hyder Raza and Maqbool Fida Husain

24

Exhibitions of the painting Lightning (from 1975 to 2019)

1975 Exhibited as a backdrop of the Emergency speech of the then Prime Minister Indira Gandhi.

1997 Exhibited in New Delhi, India, for the 50th anniversary of the India’s Independence

2003 Exhibited at TamarindArt, New York: The Unveiling of Lightning

2014 Exhibited at TamarindArt, New York: Husain99, together with the Voyage of Discovery, to celebrate the artist’s 99th birthday. It was a private gathering that included museums, art collectors and friends.

2019 Exhibited at Asia Society Museum of New York: M.F. Husain: Art and the Nation

Installation view of M.F. Husain: Art and the Nation at Asia Society Museum, 2019 Photograph © Bruce M. White, 2019

25

26

THOMAS B. KEEHN

A Personal Commentary

In early 1956—after consulting with some of

the young artists and others in this field—we decided to organize an Eight Painters exhibition in New Delhi.

An attractive brochure was produced, including information about the artists and reproductions of some of their works. One feature proposed by the artists was to have them work in teams of two, with each producing a drawing of the other. For example Husain produced a drawing of Ram Kumar and Ram did one of Husain. Here is the 1956 drawing of Husain as it M.F. Husain (1956)

appeared on the Eight Painters exhibition brochure.

Two of Husain’s paintings included in the

M.F. Husain and I were forty years old when we met

exhibition were Between the Spider and the Lamp and

in India and began a friendship that has endured for

Yatra—a Journey. They were recognized as some of

fifty-one years—from 1956 to 2007. He was a visible,

Husain’s most important works in this early period.

rising young artist living in Bombay. I was at the

beginning of a new phase of life in India, representing

family collection. We also have a drawing of the

a Rockefeller-related non-profit organization. One of

figures of a man and a woman which Husain produced

our mandates was to discover and assist the modern

in 1956. It is vintage Husain—a kind of prototype for

art movement in newly independent India. I began

many of the estimated 50,000 paintings he would

by traveling around the country, visiting artists in

paint during the next fifty years.

their homes and workshops. It seemed inevitable

that these journeys lead to connections with Husain.

central figure in a group of eight to ten pioneers

We were fortunate to acquire Yatra for our

Through these years, Husain became a

27

in the Indian modern art movement. Two of them

planning stage, funded by wealthy Indians. Indians

died in recent years—Souza and Gaitonde. The

living abroad, including the business community,

others have flourished—Ram Kumar, Tyeb Mehta,

are increasingly supportive of modern Indian art.

Akbar Padamsee, S.H. Raza, Krishen Khanna and

Bal Chhabda. At 91, Husain continues to be very

Indian art abound. Here are two involving Husain. In

involved in individual and group exhibitions and

2002, a sixty foot, twelve panel mural Lightning was

retrospectives. In addition to his skills as an artist,

purchased by Kent and Marguerite Charugundla in

he has produced award-winning films and written

New York for about $400,000. It will be on display at

poetry. He has been recognized at international

the exhibition opening at the TamarindArt Gallery

biennials and honored by the Government of India

on March 21, 2007. And, in Dubai on January 31 and

—a celebrity figure. In recent years, Husain has been

February 1, 2007, Christie’s had a special auction of

subject to controversy created by social and political

jewellery and art which included a Husain painting

tensions between the Muslim minority and the Hindu

that sold for $442,000. Not bad for an exile who is

majority in India. This has resulted in his current exile

often called the Picasso of India!

in Dubai. To which Husain responds, “There is no

such thing as exile; I have been wandering the world

legacy of family and friends. Here, Husain is richly

and painting for fifty years and I am still doing it!”

endowed. His six children and grandchildren spend

A remarkable development in the last ten to

serious time with him wherever he happens to be.

twelve years has been the dramatic increase in the

And the Keehn family home in Forest Hills, NY, is

value of modern Indian art. The early pioneer group

fortunate to be included in the travels of these young

(mentioned previously) were among those who

people. In the spring and summer of 2007, seven

were beneficiaries of this phenomenon. Husain was

Husains will be arriving in waves. My six children

one of the leaders in this market value increase but

and thirteen grandchildren will be on hand to join

others followed: Tyeb Mehta, Raza, Souza, Gaitonde

me in celebrating fifty-one years of connections

and Ram Kumar. What factors have contributed to

with the Husains and India. Once again, we will turn

this phenomenon? Auctions at established houses

the pages of the book INDIA INK—published in India

in New York, London, Hong Kong and India began

as a memorial to Martha Keehn who died eleven

to include modern Indian art in 1995. Art galleries

years ago. The book includes the saga of our family

focused on modern Indian art spread rapidly. There

collection of modern Indian art and reproductions

are half a dozen in New York, many in London and

of more than thirty pieces. It goes well with our

hundreds in India. Museums are beginning. Husain

memories of India years and our warm connections

built four in India and six new ones are in the

with the Husain family and other friends.

Examples of this surge in values of modern

Perhaps more important than money is the

Note: This article was done in 2007.

Except for Padamsee and Khanna, the others have passed away since the writing of this article.

28

M.F. Husain, Man and Woman, drawing, 1956

29

The artist portrays himself with his mother.

Voyage of Discovery, 2005 30

Marguerite Charugundla is currently a Global Council Member on Asian Arts and Culture, and is co-founder of TamarindArt Gallery, New York.

MODERN & CONTEMPORARY ART

Lightning by M.F. Husain Edited by Marguerite Charugundla

Published in association with TamarindArt, New York, and Asia Society Museum, New York

www.mapinpub.com

Printed at Thomson Press (India) Ltd

132 pages, 124 photographs, 9 x 11” (228.6 x 280 mm), hc–plc ISBN: 978-93-85360-68-8 ₹2950 | $65 | £50 Fall 2019 • World rights

31

Lightning Horses as metaphor for tremendous energy, and exquisite grace and beauty. There are ten horses cutting across the horizon like lightning, and in between appears a baby horse wearing the nuclear crown, an indication that the world has entered the most dynamic nuclear era of its billions of years of existence. Here, there on the canvas, a few images of industry, agriculture, progress and family planning are inserted. The bold, black brush-strokes are like calligraphic form. In a way these black strokes become a “writing on the wall.� The world should take a note of it!

M.F. Husain