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拍品專文
From the 1960s onwards, Husain painted several works that combined two of his favorite themes: music and the female form. Specifically, these works explore the influence of classical Indian art on modern painting, such as the depiction of the three-dimensional sculptures onto a two-dimensional canvas.
This work from 1962 shows four seated female musicians, each with her own instrument. While the faces are recognizable, the bodies do not have defined outlines. The effect of the vibrant application of bright colors against a contrasting background highlight the women and simultaneously infuse the work with powerful rhythm and energy. There is a partially shown fifth figure at the extreme right, but she remains an evocative outline. The figures are perfectly balanced on the canvas and each one sits composed and erect in her individual space. Yet they present an integrated whole, much in the manner that the instruments would complement each other in concert.
Husain's women are an integral part of his oeuvre. "Husain's women, far from arousing passion, are ascetic without any of the abundant sexuality found in Indian sculptures. It is almost as if he strips the sculptures of all exterior embellishments to arrive at their basic sense of movement." (Y. Dalmia, The Making of Modern Art, The Progressives, New Delhi, 2001, p. 111.)
This work from 1962 shows four seated female musicians, each with her own instrument. While the faces are recognizable, the bodies do not have defined outlines. The effect of the vibrant application of bright colors against a contrasting background highlight the women and simultaneously infuse the work with powerful rhythm and energy. There is a partially shown fifth figure at the extreme right, but she remains an evocative outline. The figures are perfectly balanced on the canvas and each one sits composed and erect in her individual space. Yet they present an integrated whole, much in the manner that the instruments would complement each other in concert.
Husain's women are an integral part of his oeuvre. "Husain's women, far from arousing passion, are ascetic without any of the abundant sexuality found in Indian sculptures. It is almost as if he strips the sculptures of all exterior embellishments to arrive at their basic sense of movement." (Y. Dalmia, The Making of Modern Art, The Progressives, New Delhi, 2001, p. 111.)