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An Exiled Painter's Death Stirs India's Passions: World View

Maqbool Fida Husain, who died in London on Thursday morning, was without doubt the most important Indian painter of the 20th century. Official documents state he was born in 1915 in Pandharpur (Maharashtra), though that date might well be off by a year or two. He was poor, drew exquisitely, made images feverishly. In the years before Independence, he took on a series of jobs to support his art. He designed furniture, crafted puppets and, most famously, painted billboards.

He studied at the JJ School of Art, though the myth of M.F. Husain, as it later developed, excluded this formal training. By the late 1940s, he was widely recognized as one of India’s leading talents. He reached the peak of his creativity in the 1950s and 1960s, crafting seminal canvases such as Man, Zameen, and Between the Spider and the Lamp . Having come to believe that shakti, the female principle, was the essence of Indian culture, he fell under the spell of Indira Gandhi in the 1970s and Mother Teresa in the 1980s. By this time, he was, by some margin, India’s most expensive painter. His prolific output was as crucial to the nascent market as Amitabh Bachchan’s films were to the movie industry . Well past his prime as an artist, the complex interaction of figure and colour of his best work increasingly replaced by easy symbolism, Husain became a media star, and enjoyed the attention. His flowing hair and beard, preference for walking barefoot, and humble background as a hoarding painter made a winning combination.

As a founder member of the Progressive Artists Group (PAG) in Bombay in 1947, Husain along with his peers was trying to grapple with modernity and the weight of 'western' art that colonial rule had imposed. In one of his more reflective comments (1997), he noted of the PAG: "Our concern was to evolve not only art as a profession to make a living, but to do serious research to evolve a language for Indian contemporary art. It had to be rooted in our culture and all the points of reference had to be ours, but it had to use modern techniques as well. There was no point in painting like Indian miniatures, or like Ajanta and Ellora.

For long, Husain's irreverence, joie de vivre, ability to mix with both high and low (one commentator wrote of how he favored both " bare feet and Bugattis ") and embrace of Indian narratives and popular culture found a hospitable home in India. He painted whole series of paintings on the epics the Ramayana and the Mahabharata, while also publicly declaring  several Bollywood actresses as his muses, most famously Madhuri Dixit.

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