M.F. Husain, often called ‘India’s Picasso,’ is posthumously achieving unprecedented success in the art market with his paintings fetching record prices at auctions, even as his work continues to provoke strong reactions from Hindu nationalist groups over depictions of religious figures. This duality highlights the ongoing tensions between artistic expression and religious sentiments in modern India.
In March 2025, Husain’s monumental painting ‘Untitled (Gram Yatra)’ sold for $13.75 million at Christie’s in New York, nearly doubling the previous record for modern Indian art. The 14-foot-long work, created in 1954, features vibrant vignettes of rural life and symbolizes the artist’s deep connection to India’s agrarian roots. Experts note that Husain played a critical role in defining Indian modernism, blending local traditions with global influences to forge a new visual language for the post-independence nation.
Contrasting this celebratory moment, a June 2025 auction of 25 rediscovered Husain paintings in Mumbai was met with threats and protests from Hindu nationalist organizations. Groups like the Hindu Janajagruti Samiti demanded the cancellation of the sale, labeling the artworks ‘vulgar and obscene’ for their portrayals of sacred figures. Police were deployed to secure the venue, though the auction proceeded without incident, reflecting the polarized reception of Husain’s work decades after his most controversial pieces were created.
Husain, who died in 2011, was a prolific artist known for his bold, colorful style that drew from Indian folk culture and European modernism. Co-founding the Bombay Progressive Artists’ Group in 1947, he explored iconography from mythology, Bollywood, and contemporary society. However, his nude depictions of Hindu deities sparked outrage from the 1990s onwards, leading to legal cases, death threats, and his eventual exile from India in 2006 due to safety concerns.
The artist’s later life was marked by self-imposed exile, as he faced numerous obscenity charges, despite being exonerated by India’s Supreme Court in 2008. Husain spent his final years in Dubai, Doha, and London, often expressing a longing to return to India. His plight became a symbol for advocates of secularism and free expression, with figures like Salman Rushdie criticizing the rise of religious intolerance in India.
Recent developments have further emphasized Husain’s complex legacy. Earlier this year, a Delhi court ordered the seizure of two of his ‘offensive’ paintings, while the Qatar Foundation announced plans for a museum dedicated to his work. These events occur against a backdrop of rising Hindu nationalism in India, where reactions to Husain’s art serve as a barometer for the country’s cultural and political climate.
Husain’s vast output, estimated at 30,000 to 40,000 artworks, included paintings, films, and writings. His showmanship and distinctive persona added to his celebrity status. Supporters argue that his treatment of Hindu icons was rooted in a secular worldview, seeing all cultural heritage as shared, and that controversies stem from misinterpretations and political agendas rather than any intent to offend.
In conclusion, the renewed interest in M.F. Husain’s art through record-breaking auctions underscores his lasting influence, while the ongoing tensions with Hindu nationalist groups reflect deeper societal divides. As India navigates its identity, Husain’s work remains a touchstone for discussions on art, religion, and freedom of expression, with his legacy poised to influence cultural dialogues for years to come.