Between the Spider & the Lamp (1956)

Ink on paper,11 x 9.5 in. (27.9 x 24.1 cm.) Vadehra Art Gallery, New Delhi.

"Between the spider and the Lamp" is M.F. Hussain's most characteristic work. The
painting embodies all the ingredients of his style.
• The figures, the characters, the five women in the painting are solidly formed, that
is, depicted in strong.
• Each head and profile and torso is expressive in stance and in characterization.
• Evocative color, used directly and daringly, further differentiates each person.
• A central panel of red sets off the figures and the top grey panel connects with the
bottom through a passage formulated by the figure on the extreme left.
• In these grey panels are the key symbols - a lamp and an undecipherable script in
the top and a spider in the bottom linked to the central figure by its thread.
• Both night and day are suggested, as well as twilight, if we go by the complexions of
the figures, white yellow, amber and blue-mauve, and the flame of the lamp and by
what could be constellations in the sky, the script.
• Two hands are held in gestures: the heads look in different directions but appear to
revolve. The person on the extreme left, it seems, is speaking, addressing the others.
The Rape of India (2008)
• The Rape of India is a large-scale acrylic painting made up of two disjointed
canvases, which was unveiled at the Serpentine Gallery in London in December
2008 in the group exhibition, “Indian Highway.”
• Marked with the English words “Rape of India” and one of the dates of the
November 2008 terrorist attacks in Mumbai, the scene depicts two cows fighting,
with a woman and child caught up in the conflict.
• The traditionally gentle and sacred cow of India has turned on itself, gnawing at
the neck of its own kin.
• India is shown as a helpless girl (ghungroo on one leg). Falling backward, the
female figure is dismembered by the division between the canvases.
• The Indian (Brahmin tuft on the head of child) man is shown as a child who is
not only not capable of defending and protecting himself but as one who needs to
be carried and protected by his Mother India, even as she is being raped.
• The painting is on two canvases, with the word 'India' being split across them.
Battle of Ganga and Jamuna (1971-72)
189.9 x 273.7 cm
• This oil on canvas from the Mahabharata series is perhaps one of Husain’s most
prolific paintings.
• The blend of dark and bright colors in the large diptych which portrayed the
conflict between right and wrong is mesmerizing.
• The painting details the cosmic civil war between forces of right and wrong with
the subject mater of morality and duty at its core. The epic prefaced the founding
of ancient India.
• Also evident in this work are the strong influences of classical Indian painting and
sculptural traditions.
• The division of space into four distinct color planes is a feature derived from the
narrative style in Rajasthani miniature painting, while the heavily delineated
figures are reminiscent of Indian temple sculpture in their dynamic contortions.
• The abstract hand serves as a protective mudra and is a motif that appears
frequently in Husain’s body or work.
• With age-old themes of jealousy and competition that divide females and nations,
Husain achieves a remarkable feat as he distills the central feature of the
Mahabharata into a single moving image that is monumental in scale and yet very
human in scope.
The Sixth Seal(1964)

• Painted in his signature cubist modern style, this important artwork exemplifies
the most important symbols and themes of Husain.
• Its canvas is made up of six vignettes, with each composition manifesting the
traditional forms of Indian sculptures, dance, folk art and the ancient miniature
paintings.
• Unlike most of his works from this time, there appears to be a narrative between
some of the vignettes of this painting. The central seal features a figure giving
birth wherein it is flanked by five other vignettes depicting the Goddess Ganga,
few galloping horses, a portrait of a bearded sadhu (many call it to be a self
portrait), a series of folk heads, and a human hand performing the Abhayamudra,
the fear abating gesture.
• ‘The Sixth Seal’ was one of the last of his paintings for sale, it went for auction at
Sotheby’s during his life in May 2011 fetching approximately 3.7crore INR.
Mother Teresa
• From 1980 onwards, Husain painted over 18 canvases dedicated to Mother
Teresa which reflects the profound impact her life and work had on him.
• In almost every painting from the Mother Teresa series, depicting the
Christian saint as a faceless entity, he attempts to explore motherhood that he
has always longed for and highlight the inner beauty of the saint.
• However, while creating this series, he has significantly borrowed elements
from Renaissance art styles, incorporated the pointed arches of cathedral
architecture in his every painting from the series.
• Even his handling of clothing, where he has depicted the drapery and the
folds of the ecclesiastical robes of Mother Teresa is inspired by the 15th
century Italian painting style preoccupied with realism.
• The painting shows a faceless figure with soft flowing drapes of the blue
bordered white saree that was adorned by Mother Teresa, leaning protectively
over the body of an old man. The figure of Mother Teresa acquires a certain
monumentality and the stature of the universal mother while the figure of the
old man is vulnerable and lies in her lap.
PRINCIPLES OF DESIGN

• Balance: The paintings exhibit asymmetrical balance i.e., the sides are different but still look
balanced.
• Emphasis: The emphasis on these paintings is in the warmer colors like yellow. There’s an
emphasis on human figures too.
• Movement: Movement is shown in paintings like The rape of India and The battle of Ganga
and Jamuna as it takes the viewer’s eyes to the main subject.
• Proportion: The proportion in all the paintings seem regular especially in the human figures.
• Repetition: A bit of repetition is seen in some paintings like the Rape of India.
• Rhythm: In some paintings, rhythm is seen within the main elements.
• Pattern: Patterns are not seen in this painting.
• Contrast: The paintings exhibit a well defined contrast . The subject matter is well separated
from the background.
• Unity: Unity is present in most of the paintings but absent in some like the sixth seal.
ELEMENTS OF DESIGN
• Point: The usage of points is not seen in these paintings.
• Line: There are well defined lines in the art to separate one object from another.
• Shapes: The shapes seen in these paintings are both geometric and organic.
• Colour: The usage of warm colours and pure hues can be seen in these paintings.
• Space: Equal importance is given to both negative and positive space. In some
paintings like Mother Teresa, The negative space makes up the subject.
• Texture: Texture can be seen in paintings like The Sixth Seal and Battle of Ganga
and Jamuna.
• Scale: Scale differences can be seen in the paintings.
• Dominance : Human figures are given dominance in these paintings.
• Balance: All of these paintings except the Sixth Seal and Battle of Ganga and
Jamuna are asymmetrical in nature.
• Harmony: All the elements of these paintings are in harmony with each other.
BIBLIOGRAPHY
• https://www.britannica.com/biography/M-F-Husain
• http://artasiapacific.com/Magazine/70/MFHusainFacedWithPromiseAndProtest
• https://indianartideas.in/blog/indian-art/remembering-m-f-husain-the-picasso-of-indian-art
• https://www.mojarto.com/blogs/mf-husain-6-most-expensive-paintings-of-india-s-pablo-picasso
THANK YOU