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Lot Essay
Maqbool Fida Husain’s horses are both personal and universal. They became a central part of his oeuvre since his first representation of the animal in the early 1950s, and are depicted as strong creatures, usually galloping, with reared heads and a tremendous sense of movement.
Husain encountered the equine figure throughout his life and travels across different continents and cultures. He acknowledges the influence of Tang pottery horses and the paintings of galloping horses by Xu Beihong he studied on an early trip to China, as well as the equestrian sculptures of the Italian artist Marino Marini, which he discovered during his travels across Europe. Horses also resonate with Husain's admiration for Ancient Greece, a civilization that championed and deified the animal. The Trojan Horse, Pegasus and Alexander's prized Bucephalus are only a few iconic stallions that permeate the mythological and historical past of hallowed antiquity. As a filmmaker, it is also likely that Husain was inspired by Eadweard Muybridge’s iconic short film, The Horse in Motion.
In this large and vibrant painting, Husain draws from all these sources and his own childhood memories to dramatically frame two dueling horses against a shaded yellow and crimson background. The horses’ powerful, contorted forms dominate the composition, with the golden-yellow horse on the left rearing back and the white horse on the right leaning forward in a moment of confrontation. Their raised heads, flared nostrils and dynamic stances create a sense of agitation and energy. Here, Husain’s characteristically vivid palette and vigorous brushstrokes enhance the raw, unimpeded strength of these creatures, epitomizing the artist’s technical prowess and ability to capture the primal energy of his subjects.
The juxtaposition of human and animal figures is another prevalent motif in Husain’s work. At the far left of this painting, a simplified figure of a woman is depicted peering out from behind what appears to be a panel of the backdrop, subtly introducing an element of theatricality to the scene. Rendered in stark, linear forms, this female figure is secondary to the main action of the dueling horses, yet her presence draws attention to the constructed nature of the composition. Her position, partially behind the backdrop, implies that the dynamic, chaotic energy of the horses is not entirely organic but instead is a deliberate creation – a carefully executed manifestation of the artist’s vision. Challenging the line between the primal, untamed vigor embodied by the horses and the limited surface of the painting they occupy, this gesture underlines the artifice of the set and subsequently of the canvas. In this composition, Husain thus draws attention to another duality characteristic of his artistic process, where instinctive, raw energy is balanced with artistic skill, precision and intentionality.
This painting, with its flaming background and dueling horses, skillfully captures the multidimensionality that Husain’s equine figures embody and reflects the artist’s masterful ability to create compositions that are both deeply symbolic and technically accomplished.
Husain encountered the equine figure throughout his life and travels across different continents and cultures. He acknowledges the influence of Tang pottery horses and the paintings of galloping horses by Xu Beihong he studied on an early trip to China, as well as the equestrian sculptures of the Italian artist Marino Marini, which he discovered during his travels across Europe. Horses also resonate with Husain's admiration for Ancient Greece, a civilization that championed and deified the animal. The Trojan Horse, Pegasus and Alexander's prized Bucephalus are only a few iconic stallions that permeate the mythological and historical past of hallowed antiquity. As a filmmaker, it is also likely that Husain was inspired by Eadweard Muybridge’s iconic short film, The Horse in Motion.
In this large and vibrant painting, Husain draws from all these sources and his own childhood memories to dramatically frame two dueling horses against a shaded yellow and crimson background. The horses’ powerful, contorted forms dominate the composition, with the golden-yellow horse on the left rearing back and the white horse on the right leaning forward in a moment of confrontation. Their raised heads, flared nostrils and dynamic stances create a sense of agitation and energy. Here, Husain’s characteristically vivid palette and vigorous brushstrokes enhance the raw, unimpeded strength of these creatures, epitomizing the artist’s technical prowess and ability to capture the primal energy of his subjects.
The juxtaposition of human and animal figures is another prevalent motif in Husain’s work. At the far left of this painting, a simplified figure of a woman is depicted peering out from behind what appears to be a panel of the backdrop, subtly introducing an element of theatricality to the scene. Rendered in stark, linear forms, this female figure is secondary to the main action of the dueling horses, yet her presence draws attention to the constructed nature of the composition. Her position, partially behind the backdrop, implies that the dynamic, chaotic energy of the horses is not entirely organic but instead is a deliberate creation – a carefully executed manifestation of the artist’s vision. Challenging the line between the primal, untamed vigor embodied by the horses and the limited surface of the painting they occupy, this gesture underlines the artifice of the set and subsequently of the canvas. In this composition, Husain thus draws attention to another duality characteristic of his artistic process, where instinctive, raw energy is balanced with artistic skill, precision and intentionality.
This painting, with its flaming background and dueling horses, skillfully captures the multidimensionality that Husain’s equine figures embody and reflects the artist’s masterful ability to create compositions that are both deeply symbolic and technically accomplished.