Husain Aur Husain Ke Baad

Book Review

Book Cover:
Husain Aur Husain Ke Baad
Author:
Vinod Bhardwaj
Publisher:
Anurag Publication,
New Delhi
Year:
2012
Price:
Rs. 400/-

'India's Picasso dies in exile'-screamed the news headlines. So was the case of the facebook status updates on 10th June 2011. M.F.Husain had passed away in exile. It was exactly the point where art critic and writer; Vinod Bhardwaj starts his recent book titled 'Husain aur Husain ke Baad' published by Anurag Publication, New Delhi. A day before, on 9th June, we had lost a gem of art world, veteran artist M.F.Husain at the age of 95. We qualify him as Indian Picasso and deny what is due to him, and Vinod Bhardwaj minces no words to say this. This book has a lot of original views on the recent developments in the Indian contemporary art and its history.

Written in Hindi, this book is a compilation of various articles written by the author on different occasions and he present the book as a tribute to the departed master, M.F.Husain. Bhardwaj narrates his last nostalgic meet with Husain during his journey to London in July-August 2010 and numerous previous meetings with the artist. The book starts from Husain's life, peeping into his art and how the stoical and pensive memory of Husain makes iconic symbols in his art like lanterns, bicycles, horses and also his obsession with women/film actresses. The author reads Husain's life within the historical context of the Bombay Progressives comprised of Souza, Raza, Bakre, Ara and Gade.

The author criticizes the sectarians' repugnance over Husain's art which compelled him to take refuge and later citizenship in/of Qatar and laments over his inability in returning to India even during his last days. From here he moves on to other artists of the country including modernists, senior artists, eminent contemporaries, young practicing artists; their art, their thought processes in connection with latest events happened during the last two-three years. He divides the time frame of the book, as the title suggests, during and after Husain.

Citing the economic hierarchies, art trends and publicity stunts present and evolved throughout our modernist times, Bhardwaj touches upon the milieu of our modern art scene with an insider's intellectual verve and emotional attachment. The entire book seems to be a vigilant study of the condition of Indian art and art market from modern period till present. In due course of his narrative, the author mentions his innumerable trips to abroad in order to see the international modern art and gain firsthand experience of it.

Bhardwaj is an art insider and his writings are informed by firsthand experience with the artists. He visits artists in their studios and chats up with the new artists during the exhibitions and forms an idea about the ongoing trends and art movements. Through this close association with the artists, he gets to see how glamorous the art world has become in the recent years and without much cynicism he raises points of dissension. His critique traverses into the areas of politics where the production of visual icons is an integral part of proliferating political ideologies. To exemplify this he brings in a detailed reading of Mayawati's efforts to erect the statues of the Dalit leaders in Uttar Pradesh.

Bhardwaj feels that there are many artists who are international celebrities but are not celebrated in India, their motherland. He substantiates his points by discussing the works and stature of the artists like Anup Kumar Chand, Rameshwar Singh, Vinay Sharma, Meena Baya, Sujata Bajaj, Om Prakash Sharma, Ved Nayar, Shuvaprasanna, Jangarh Singh Shyam, Narendra Pal Singh, Siddartha etc. A few among them are more connected to folk and regional art. They are not fame crazy and prefer to work in seclusion and their primary need is to express themselves through their respective works of art.

I would recommend this book not only for the art lovers but also for the artists themselves. Written in lucid language, one could finish reading it in a single sitting. Such books are to be welcomed not only to proliferate the ideas about art but also to demystify the belief pattern that art historical writing or chronicling could only be written in English. We need more such books in Hindi and in regional languages. 

Originally published in Art&Deal Magazine, Issue 47/Vol.8 No.17/Mar-Apr,2012.