A dynamic innovator, Maqbool Fida Husain, commonly referred to as M. F. Husain, navigated through historical upheavals including world wars, the independence and partition of the Indian subcontinent, and the subsequent postcolonial shifts. His artistic journey embraced the cultural richness of rural life, the vibrancy of urban street culture, and the intricate narratives of East and West Asia, all while exploring the intersections of various religious beliefs. Capturing the essence of his multifaceted experiences and their influence on global art, a new museum in Qatar aims to showcase this remarkable legacy.
Inaugurated in November in Doha, the Lawh Wa Qalam: M. F. Husain Museum offers a comprehensive exploration of the artist's world and his transnational perspectives. "The museum celebrates his imaginative spirit, interdisciplinary vision, and the significant cultural ties he established between South Asia, the Arab world, and beyond," stated Noof Mohammed, the museum's curator and project manager for the Qatar Foundation's art initiatives.
Commissioned by his devoted supporter Sheikha Moza bint Nasser and supported by the Qatar Foundation, the museum features 150 artworks, including paintings, films, sculptures, and photographs, alongside archival materials that chronicle the influences and memories that shaped Husain's artistic journey from the 1950s until his passing in 2011. His works reflect a continuous engagement with themes of faith, science, knowledge, and creative expression, all conveyed with genuine sincerity.
Since Husain's death, his significance has only grown. In 2024, the Kiran Nadar Museum of Art in Delhi hosted a retrospective of his work as part of the Venice Biennale, marking 70 years since his inaugural exhibition at the event. Last March, his monumental painting Untitled (Gram Yatra) fetched an astonishing $13.8 million at auction, setting a record for Indian modernists.
The establishment of this museum in Doha is deeply intertwined with the concluding chapter of Husain's life. He developed a profound personal and cultural bond with Qatar, where he resided during the later years of his self-imposed exile from India, while remaining a revered figure in his homeland's art history. In 2009, he moved to Qatar at the invitation of Sheikha Moza, whose patronage facilitated some of his most ambitious projects.
Lawh Wa Qalam, translating to "the Canvas and the Pen," is inspired by a 2008 sketch by Husain, now housed in the museum. Designed by architect Martand Khosla, the museum's striking blue, geometric structure spans nearly 32,300 square feet, harmonizing elements of Husain's two homes: India's urban landscape and Doha's narrow souq lanes. Visitors are welcomed through ornate arched doors, revealing a dynamic interplay of spaces that comprise three main galleries and a periscopic tower, interconnected by open walkways.
Among the works exhibited is a series dedicated to Arab civilizations, with Husain completing around 35 pieces before his death. These artworks draw from the rich historical and intellectual traditions of Islamic culture, including The Battle of Badr (2008) and Arab Astronomy (2008), honoring the scholars who contributed to centuries of scientific advancement. Other pieces creatively intertwine Husain's life with art history, such as The Last Supper of the Desert, a reinterpretation of Leonardo da Vinci's Last Supper in response to the controversies surrounding his work in India.
The museum's first two galleries explore the social and political landscape of 20th-century India as experienced by Husain. The initial gallery reflects the era of British colonial rule and India's journey toward independence, showcasing large-scale panels that serve as protest art addressing pivotal events, including the 1919 Jallianwala Bagh massacre and Gandhi's Quit India Movement. Additionally, there are tributes to influential figures, such as Allama Iqbal, and heartfelt remembrances of Husain's mother.
These early works set the stage for Husain's later involvement in founding the Bombay Progressive Artists' Group in 1947, establishing the emotional and ethical foundation of his art, where personal loss intertwines with historical awareness and political conviction.
The second gallery, titled "A Curious Mind," presents Husain as an artist whose exploration of diverse artistic and faith traditions was essential to his philosophy of universal humanism. In pieces like World Religions (2008), he reflects on the unity among Abrahamic faiths, and in the Theorama series from the 1990s, he illustrates sacred motifs from various belief systems. Despite his extensive travels, the core concerns of his work remained rooted in his beloved homeland, even when he felt a sense of estrangement from it.
These galleries establish the emotional core of the museum, culminating in Husain's final significant piece, completed posthumously in 2019 by the Qatar Foundation. Titled Seeroo fi al ardh, meaning "Travel through the earth," this installation features a carousel of Murano glass horses and vintage cars, symbolizing Husain's eternal inspirations and the innovations that followed. "This work embodies Husain's enduring fascination with humanity's relentless pursuit of progress and transformation, making it a fitting final masterpiece," remarked curator Noof Mohammed.
As a tribute to Husain, Lawh Wa Qalam serves as a space that reflects how his art drew inspiration from everyday life, addressed the anxieties of a transformative era, and highlighted the humanity within the exploration of faith and identity. This museum stands as a meaningful homage to an artist whose legacy continues to inspire cross-regional dialogues.