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By Sheru | The Trending People
Maqbool Fida Husain—India’s most recognized modernist—has once again made headlines, not through controversy or exile but through a staggering auction record. His 1954 masterpiece Gram Yatra fetched a historic $13.8 million (approximately ₹118 crore) at a Christie’s auction in New York, making it the most expensive Indian artwork ever sold. This sale not only cements Husain’s legacy in the global art market but also reignites discussions on the intersection of art, commerce, and cultural memory.
Husain’s Return to the Spotlight
For decades, Husain was the face of Indian modernism, a prolific artist whose bold strokes and evocative imagery captured India’s evolving socio-political landscape. However, his self-imposed exile in 2006, following controversies over his depiction of Hindu deities, cast a shadow over his later years. While peers like Tyeb Mehta, S.H. Raza, and F.N. Souza were breaking records in the art market, Husain found himself distanced from the mainstream auction frenzy.
Yet, as fate would have it, Gram Yatra has now rewritten history. The artwork, once owned by Dr. Leon Elias Volodarsky, a Norwegian doctor stationed in India with the World Health Organization, remained largely unknown until resurfacing at Christie’s. Now, thanks to an aggressive bid by Indian collector Kiran Nadar, Husain’s name is once again at the pinnacle of Indian art valuation.
Why This Sale Matters
This record-breaking sale goes beyond just numbers—it signals a growing global appetite for Indian modern art. The art market has traditionally been Western-centric, but in recent years, there has been a shift toward recognizing artists from the Global South.
The resurgence of Husain at the top of the market hierarchy is also symbolic. His art, which often depicted rural India, common people, and mythological narratives, was always meant to be for the masses. Yet, ironically, his works are now priced beyond the reach of ordinary Indians, snapped up by elite collectors and institutions.
The Curious Relationship Between Art and Money
Husain’s rise in the art world wasn’t just due to his talent but also his astute understanding of branding and market dynamics. He was not just a painter but also a showman—someone who knew how to stay relevant. This marketing acumen was evident in the early 2000s when, after Tyeb Mehta’s Kali sold for ₹1.5 crore, Husain orchestrated a ₹100 crore sale of his works through businessman Guru Swarup Srivastava. While the deal was later dismissed as a gimmick, it underscored Husain’s competitive spirit.
Andy Warhol once said, “Good business is the best art.” Husain, knowingly or unknowingly, seemed to live by this mantra.
A New Era for Indian Art?
The sale of Gram Yatra is not an isolated event. Over the past decade, Indian art prices have soared, with increasing interest in both modernists and lesser-known artists. This growing demand has also sparked conversations about preservation, documentation, and the need for better infrastructure to support Indian art’s global recognition.
Additionally, interest in pre-modern Indian art—Company Paintings, Anglo-Indian artists, and early 20th-century masters—is on the rise. As platforms like online auctions and digital exhibitions make art more accessible, new buyers are entering the market, further fueling this momentum.
What’s Next?
For Husain, this posthumous recognition is a poetic full circle. From being vilified by right-wing groups and forced into exile to now commanding record-breaking prices, his art has outlived the controversies. If anything, Gram Yatra’s record will likely push more of his unseen works into the spotlight.
As the Indian art market expands, one question remains—will this newfound global appreciation translate into better institutional support for contemporary artists? Or will we continue to judge art primarily by the price it fetches at auction?
For now, somewhere in the afterlife, Husain must be smiling. Eid has indeed come early.
Image source: M F Husain. (Art news)
