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拍品專文
Between 1962 and 1965, Husain experienced two incidents that manifest themselves in the paintings from this time. As Shiv Kapur says, they 'reveal an almost prophetic foreshadowing of his climactic emotional experiences. There is in them a clear mark of his deepening spiritual unrest, often rendered in Buberian parables of deceptive plastic simplicity.' (Shiv S. Kapur, Husain, New York, 1986, p. 45.) The use of a monochromatic palette further enhances his somber outlook.
Whilst not all the paintings during these years reflected this inner dialogue, it is the more contemplative ones such as Man that are '... at the center of his artistic experience during this period; in expressions of cosmic anxiety they represent more closely his exploration of the nature of being.' (Shiv S. Kapur, op. cit., p. 46.)
'Husain's paintings are profound, but they are never forbiddingly intellectual or cerebral. They have a strong emotional undercurrent, an engaging warmth, an immediate visual appeal, and they are passionately humanistic. Man is central to Husain's paintings.' ( E. Alkazi, M.F. Husain, New Delhi, Art Heritage, p. 7.)
Whilst not all the paintings during these years reflected this inner dialogue, it is the more contemplative ones such as Man that are '... at the center of his artistic experience during this period; in expressions of cosmic anxiety they represent more closely his exploration of the nature of being.' (Shiv S. Kapur, op. cit., p. 46.)
'Husain's paintings are profound, but they are never forbiddingly intellectual or cerebral. They have a strong emotional undercurrent, an engaging warmth, an immediate visual appeal, and they are passionately humanistic. Man is central to Husain's paintings.' ( E. Alkazi, M.F. Husain, New Delhi, Art Heritage, p. 7.)