At the edge of Doha, a new grey-blue building rises like a drawing on its skyline, its shimmering tiles shifting with the sun and casting geometric shadows. The building seems to be leaning forward, as if eager to tell a story.
In a video clip of Lawh Wa Qalam, the world's first museum dedicated to MF Husain, we see glimpses of the extraordinary work of the late legendary Indian artist, whose prolific paintings and turbulent personal history have fascinated the world. The museum honours the legacy of the artist who spent his last years in Qatar and was granted citizenship in 2010.
Spanning over some 3,000 sq m, it opened to visitors last week and is part of the expansive campus of Qatar Foundation's Education City. Inside, more than 150 works and objects - including paintings, sculptures, films, tapestries, and photos - map the astonishing breadth of Husain's career, offering visitors a rare window into the artist's late-life reflections and inspirations.
Husain always wanted his museum to feel like home, says Noof Mohammed, the curator. We want visitors to experience the world as he did, in an intimate, playful, and reflective manner.
Few artists have traveled as widely or imaginatively as Husain. His horses - muscular and dynamic - remain some of the most prized and instantly recognisable paintings in contemporary art, sold for millions of dollars. An artist with a nomadic and bohemian disposition, he dabbled seamlessly with Cubist-inspired modernism and traditional Indian themes, creating bold and vibrant canvases with scenes from history and mythology. His signature style earned him the moniker of the Picasso of India. He also made two Bollywood films, which failed at the box office.
Husain was also never without controversy. His paintings of nude Hindu goddesses angered hardline Hindus who accused him of obscenity, forcing him into a self-imposed exile.
After tumultuous years, it was in Qatar, away from the cultural battles at home, that he entered a period of deep contemplation and artistic renewal. He was deeply engaged here, charmed and inspired by Arab civilisation and culture, Yousef Ahmad, a Qatar-based artist who knew Husain during his final years, told the BBC. People often forget that some of his most ambitious works in later life were conceived in Qatar.
Reflecting Husain's artistic ambition, the museum showcases Seeroo fi al ardh (Walk In The Land), one of his main attractions. The building itself is inspired by a 2008 sketch Husain made, showing two sculptural masses connected by a cylindrical tower.
Architect Martand Khosla recalls the challenge of working from Husain's sketch, which served as a philosophical starting point rather than a blueprint. The resulting labyrinthine layout invites visitors to explore as if following Husain's brushstrokes. Each gallery opens with a Husain quote, while immersive displays tell the story of an artist who yearned for India throughout his travels.
Notably, the museum features works that demonstrate Husain's deep interest in Islamic culture during his later years. From a studio in Doha, he created a series celebrating Arab civilization, portrayed with the kinetic lines that defined his Indian art but adjusted to the warm ochres reflecting the Gulf's landscape.
Husain's journey in the Gulf culminated in works like The Battle of Badr, a significant moment in Islamic history that showcases his mastery over movement and color. The museum aims to rotate its exhibitions, allowing for a continuous appreciation of Husain's expansive oeuvre.
Ultimately, the Lawh Wa Qalam Museum not only commemorates Husain's legacy but also recontextualizes it within a broader narrative that reflects the complexity of his multi-cultural identity.
In a video clip of Lawh Wa Qalam, the world's first museum dedicated to MF Husain, we see glimpses of the extraordinary work of the late legendary Indian artist, whose prolific paintings and turbulent personal history have fascinated the world. The museum honours the legacy of the artist who spent his last years in Qatar and was granted citizenship in 2010.
Spanning over some 3,000 sq m, it opened to visitors last week and is part of the expansive campus of Qatar Foundation's Education City. Inside, more than 150 works and objects - including paintings, sculptures, films, tapestries, and photos - map the astonishing breadth of Husain's career, offering visitors a rare window into the artist's late-life reflections and inspirations.
Husain always wanted his museum to feel like home, says Noof Mohammed, the curator. We want visitors to experience the world as he did, in an intimate, playful, and reflective manner.
Few artists have traveled as widely or imaginatively as Husain. His horses - muscular and dynamic - remain some of the most prized and instantly recognisable paintings in contemporary art, sold for millions of dollars. An artist with a nomadic and bohemian disposition, he dabbled seamlessly with Cubist-inspired modernism and traditional Indian themes, creating bold and vibrant canvases with scenes from history and mythology. His signature style earned him the moniker of the Picasso of India. He also made two Bollywood films, which failed at the box office.
Husain was also never without controversy. His paintings of nude Hindu goddesses angered hardline Hindus who accused him of obscenity, forcing him into a self-imposed exile.
After tumultuous years, it was in Qatar, away from the cultural battles at home, that he entered a period of deep contemplation and artistic renewal. He was deeply engaged here, charmed and inspired by Arab civilisation and culture, Yousef Ahmad, a Qatar-based artist who knew Husain during his final years, told the BBC. People often forget that some of his most ambitious works in later life were conceived in Qatar.
Reflecting Husain's artistic ambition, the museum showcases Seeroo fi al ardh (Walk In The Land), one of his main attractions. The building itself is inspired by a 2008 sketch Husain made, showing two sculptural masses connected by a cylindrical tower.
Architect Martand Khosla recalls the challenge of working from Husain's sketch, which served as a philosophical starting point rather than a blueprint. The resulting labyrinthine layout invites visitors to explore as if following Husain's brushstrokes. Each gallery opens with a Husain quote, while immersive displays tell the story of an artist who yearned for India throughout his travels.
Notably, the museum features works that demonstrate Husain's deep interest in Islamic culture during his later years. From a studio in Doha, he created a series celebrating Arab civilization, portrayed with the kinetic lines that defined his Indian art but adjusted to the warm ochres reflecting the Gulf's landscape.
Husain's journey in the Gulf culminated in works like The Battle of Badr, a significant moment in Islamic history that showcases his mastery over movement and color. The museum aims to rotate its exhibitions, allowing for a continuous appreciation of Husain's expansive oeuvre.
Ultimately, the Lawh Wa Qalam Museum not only commemorates Husain's legacy but also recontextualizes it within a broader narrative that reflects the complexity of his multi-cultural identity.
