by Urvi Kothari | 5 mins. read
When the story of Indian modern art is told, Maqbool Fida Husain is a name that emerges like a bold stroke across the canvas of the nation’s cultural history. Revered as the 'barefoot Picasso of India’, Husain’s flamboyant charisma, fearless brushwork, and iconic subjects turned him into a legend. Yet, nestled in the fast-paced heart of Mumbai, one chapter of his life often gets overlooked: his profound artistic association with Tao Art Gallery and its visionary founder, Mrs. Kalpana Shah.
A Meeting of Minds
Tao Art Gallery, founded in 2000 by Mrs. Shah, has always been more than just a white cube space - it’s been a sanctuary for serious art, where emerging voices and iconic masters converge. In its early years, as Mumbai’s art scene was still maturing, Tao stood out for its blend of aesthetic finesse and intellectual rigor.
It was during this phase that M.F. Husain - already a towering figure in Indian and global art—gravitated toward Tao and its founder. The gallery's ethos of merging spiritual energy ("Tao", derived from Chinese philosophy, meaning "the way") with contemporary Indian expression resonated deeply with Husain, who was himself a seeker of form, myth, and meaning.
MF Husain signing off at the opening night of Astanayak in 2001, (Image courtesy of Tao Art Gallery)
The Ashtanayak Catalogue: A Charcoal-Streaked Legacy
One of the most quietly powerful moments in Tao’s history came in 2001, during its landmark group show, Ashtanayak, which paid tribute to eight icons of Indian modernism. M.F. Husain didn’t just lend his moral support - he actively shaped the exhibition’s identity. In an impromptu moment of creative generosity.
“He not only named the show ‘Ashtanayak’, but took the charcoal and designed the catalogue in front of my eyes in five minutes! He even recommended the name of the printer…”
- Kalpana Shah, in The Hindu, 2020
It was a gesture emblematic of Husain’s character - spontaneous, deeply involved, and totally unencumbered by ego. For Shah, it wasn’t just a cover design - it was a moment etched into the legacy of Tao, hand created by someone who not only inspired the show but defined an era.
Cricket Bat hand painted by Husain in Bangalore in 2003, (Image courtesy of Tao Art Gallery)
A Painted Bat and a National Symbol
One of the most memorable stories that defines their connection happened away from the gallery - at a charity auction during the Cricket World Cup 2003. As part of the event, Husain painted a 9-foot cricket bat in his signature style, fusing athletic movement with mythological undertones.
When the bat went under the hammer in Bengaluru, it sparked a bidding war. Mrs. Shah ultimately won, outbidding others to acquire the piece - not just as a collector, but as someone deeply attuned to its layered symbolism. Today, the painted bat is proudly housed in her personal collection - a striking reminder of Husain’s spontaneity, playfulness, and deep engagement with Indian identity through art.
MF Husain at his solo exhibition titled ‘The Eternal Enchantress of Devdas’, 2002, (Image courtesy of Tao Art Gallery)
A Legacy on Canvas
During his association with Tao, Husain showcased works that reflected his mature period - marked by abstraction, mythology, cinema, and even his musings on global cultures. Whether it was his homage to Mother Teresa or his series on Indian cinema, Tao became a space where his visual language found a new dimension.
One of the most memorable exhibitions featured powerful, sensual canvases inspired by Madhuri Dixit’s portrayal of Chandramukhi from the classic Indian tale, Devdas. The exhibition celebrated both the actress-as-muse and the timeless charm of the tragic character. The artworks illustrated Husain's fascination with Madhuri transcended mere cinematic fandom - elevating her to mythic status on canvas.
MF Husain live painting in Tao Art Gallery for students of Cathedral & John Canon School in 2002, (Image courtesy of Tao Art Gallery)
A Spiritual and Artistic Home
Mumbai was Husain’s karmabhoomi for decades, but few spaces felt as spiritually aligned to him as Tao. In many ways, the gallery reflected his own values - boldness, transcendence, and a refusal to be boxed in by tradition.
Shah, in turn, provided the grounding. While Husain moved across continents and controversies, Tao remained a consistent node in his Indian journey - a place that welcomed him without reservation and honoured his genius without question.
The Final Stroke
As Husain spent his final years in self-imposed exile, the memories of his days at Tao stood as a poignant reminder of a freer time in Indian art. For Mrs. Shah and the many patrons and artists who witnessed those moments, the collaboration wasn’t just professional—it was personal.
Today, Tao continues to flourish, showcasing contemporary artists while preserving the memory of those who shaped it. And within its quiet corners, echoes of Husain’s laughter, his sweeping brushstrokes, and his indelible spirit still linger.
In the end, it was more than a tryst - it was a shared vision. A dance between artist and space. Between Husain and Tao. Between genius and grace.
