Maqbool Fida Husain

Sotheby’s London, 8 October 1996, lot 68

Darmstadt, Kunsthalle Darmstadt, Indische Kunst heute, July-August 1982

Indische Kunst heute, Roetherdruck, Darmstadt, 1982, illus., unpaginated

This painting is in good condition overall, as viewed. There is very minor wear and loss around the extreme edges of the work due to frame rubbing. There is slight rubbing in the area near the head of the woman in the grey sari, and a few minor pin hole sized specks of loss particularly in the lower section of the painting. There are fibres embedded in the paint from the artist's brush which are inherent and were present at the time of the painting's creation.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

During the 1950s and 60s, a number of Husains paintings drew their inspiration from pastoral life. The artist placed an importance on nature and in particular the depiction of a rural utopia. This was driven by a post-Independence concern with finding a new national identity. The virtues and values of the rural class were regarded as the backbone of a new independent nation. 'Most artists have been attracted at one time or other to the charm and colour of the Indian countryside and drawn inspiration from it. Few have brought to it the poetic lyricism which Husain has.' (E. Alkazi, M.F. Husain: The Modern Artist & Tradition, Art Heritage,New Delhi, 1978, pp.13-14)

The sumptous palette and verdant foliage depicted in this canvas relates closely to Husain's Kerala series that he produced in the late 1960s. 'With its ancient matriarchal society, staunch Dravidian faces, and simple fish folk, with its lush vegetation and sun, sand, and sea, this southwestern extremity of India beckoned to him as an idyll of contained form and emotion.' (R. Bartholomew and S. Kapur, Husain, Abrams, New York, 1972, p.55).