Celebrating printmaking: From Raja Ravi Varma to MF Husain

Chaitya Dhanvi Shah’s exhibition Husain @ 110, taking place from 23 October 2025 to 4 March 2026 at Rann Utsav in Kutch, features MF Husain’s authenticated serigraphs and reproductions. The exhibition re-examines the enduring power of print and Husain’s legacy through the lens of accessibility.

The preview took place in Ahmedabad from 1 to 6 October 2025, and the decision to transition the exhibition to the sprawling, globally visited Rann Utsav in Kutch emphasises Husain’s core belief: art must travel. Shah remarks, “We want the exhibition to reach as many people as possible.” He adds, “Ahmedabad, until now, had never seen anything by Husain presented at this scale. The Rann Utsav exhibition is designed with a larger vision.” 

Shah highlights that visiting Rann Utsav differs significantly from traditional gallery or museum experiences, fostering a mindset focused on cultural exploration. The event encourages visitors to engage with Kutch’s heritage, immersing them in discussions about art, history, and local traditions. He notes, “At Rann Utsav, people are not only looking at paintings or colours but engaging with the larger cultural experience. They discuss art, history, food, clothes, and stories. The atmosphere itself creates a wholesome experience.” 

Intending to promote Indian art to diverse audiences, including people of varied ages, languages, classes, and regions, Shah has created a comprehensive description of 110 artworks, uncommon in art catalogues or blogs. The descriptions are available on Shah’s blog and in the exhibition catalogue, and allow viewers to engage, learn, and connect with Husain “beyond the headlines.” In addition, these allow students and collectors to grasp Husain’s artistic style, thought processes, compositional logic, and emotive use of colour.

Shah notes, “We are very clear that the 110 works should be understood by everyone: a fifth-grade student, an art student, a collector, a homemaker, or even a casual visitor to the gallery.” He adds, “Whether one comes to buy or simply to experience, the legacy and contribution of Husain should speak clearly through his art.”

Democratising art
Shah believes one of the major artists who understood the power of editions after Ravi Varma was Husain — in that, he fundamentally understood that editions were ‘instruments of reach.’ Shah observes, “Like Raja Ravi Varma, Husain realised that if art had to create awareness, it also had to be made affordable and accessible.” He continues, “Raja Ravi Varma gave a visual face to the gods and goddesses, allowing Indian art to reach the masses for the first time. Decades later, Husain did the same for contemporary Indian art. While Ravi Varma made divine imagery accessible, Husain made modern Indian art part of everyday life.”

Shah argues that both Varma and Husain shared the same vision of democratising art: “To bring it closer to people, and to build a culture where paintings became part of daily living,” he says.

The affordable, high-quality print was a revolutionary tool that allowed Husain’s visual poetry of horses, mythology, and Indian culture — to enter homes, transforming collectors into custodians of national heritage. 

Authentication and reproduction
A common misconception about a serigraph is that it is simply a “copy.” DRS Arts Company’s work, which includes producing and authenticating these editions, challenges this notion by emphasising the profound artistic integrity required in printmaking. He emphasises the company’s commitment to maintaining formal agreements with artists and a transparent relationship with both artists and collectors. Central to the company’s policy is the principle of prioritising both the artist and the collector. This transparency and principle allow the company to ensure that each work is a genuine authorised edition. 

The company works directly with the artist, producing everything in the studio. Shah notes, “Every process, from beginning to end, is handled in-house. We ensure that the artist personally signs every single edition. Sometimes it takes two or three days, because signing 125 editions is not a small task for a senior or legendary artist.”

All aspects of authentication and reproduction — from production and signing to framing are carried out under the company’s supervision. “With Husain’s works in particular, our stance has always been clear. We advise collectors to buy only from authentic and reputable galleries and to ensure that the works were produced before 2004, before Husain moved to Dubai,” observes Shah.

In addition, Shah advises collectors to inquire about the year of creation for serigraphs, as earlier works often lack proper documentation and dating. He emphasises that Husain’s serigraphs created post-2004 should be avoided due to difficulties with verification.

Printmaking as an art
Shah underscores the evolving perception of serigraphs, which have transitioned from being seen merely as “entry points” to being recognised as stand-alone artworks of equal value. Shah interjects, “Generally, people assume that because editions are multiple, they are copies.” He adds, “But once you explain to them that printmaking is an art form, and that the purpose of creating editions is to make art more accessible and reach more people, their entire perspective changes.”

In this context, the artistic value of a serigraph, lithograph, or etching is comparable to that of traditional canvas paintings, contingent upon quality and composition. He observes, “Over time, we have educated our collectors to understand that an artwork is an artwork, regardless of whether it is on paper, canvas, or any other surface.” As collectors grow educated, they recognise that art transcends mediums, realising that editions hold both artistic and investment significance. 

Shah highlights the importance of printmaking in capturing the essence of original paintings. He argues that traditional printmaking often neglects this emotional connection, prioritising technical precision over artistic expression. He stresses, “Many forget that the true challenge lies in reaching as close as possible to the feeling of the original through shades, tones, and the thoughtful use of multiple screens.”

For Shah, a successful print must resonate with viewers — he remarks, “When an edition lacks emotion or fails to connect with its viewer, its purpose is lost. Printmaking must go beyond precision; it must carry the soul of art.”

Understanding the process
Shah’s approach and process to producing serigraphs surpasses mere commercial intent. He describes the process, “In our studio, we do not use any machines. Every step is done manually. The entire process takes around two to three months. We use anywhere between 90 and 120 colours or screens, ensuring that every tone and emotion of the original painting is recreated with care so that the energy of the artist remains alive in the serigraph.”

Factors such as material, medium, and emotional context are approached with care and choices in paper, colours, and techniques are made to reflect the energy of the artworks. Shah reflects, “We always use archival-grade paper to ensure longevity and authenticity. Each decision, from ink to texture, depends on the concept and subject of the artwork and the medium used by the artist.” 

Detailed documentation precedes production. He notes, “Before production begins, we write about the artwork in detail: when it was created, what might have been the artist’s state of mind, and the atmosphere of that period, whether it was the 1950s, 1960s, or 1990s.” He adds, “After thorough study and research, we arrive at a conclusion that defines the mood, the era, and the artist’s intention.”

Techniques are tailored to match the original medium to ensure authenticity. He observes, “The difference lies only in the tools, where the artist uses brushes and pigments, we use squeegees and industrial colours, all on the highest quality paper with materials designed for lasting preservation.”

The company’s attention and commitment to quality have garnered them over 50 awards, including consecutive PrintWeek Awards and Fespa recognitions, reflecting the company’s blend of technical skill and emotional investment in each serigraph.

Looking ahead
The company currently holds over 300 works by prominent Indian artists, including Shanti Dave, Akbar Padamsee, KG Subramanyan, Ravindra Salve, Gogi Saroj Pal, and Haku Shah. Shah reflects, “These works hold immense historical value, particularly from the periods in which they were created. Many of them were originally painted in the 1950s and have now been produced as serigraphs.”

The company aims to preserve these artworks while sharing Indian stories and culture with future generations, fostering conversations around their themes and symbolism. He says, “Beyond composition, form, colour, and line, we focus on meaningful subjects such as landscapes, gods and goddesses, abstractions, or scenes of heritage Indian villages that are disappearing due to urban development. Melas, courtyards, and traditional homes that once defined Indian life are now becoming rare, so we treat them as visual memories worth preserving.”

Shah’s reflection on Husain’s passing in 2011 highlights a profound emotional impact, likening it to the loss of a family member. DRS Arts Company’s initial exhibitions were born from personal grief and gratitude, serving as intimate tributes to Husain’s influence on Indian art. The current exhibition, Husain @ 110, differs by focusing on societal education and legacy, aiming to inspire future generations about Husain’s contributions.

Shah’s curation philosophy emphasises instinct over reception, and he envisions DRS Editions as a pivotal force in contemporary Indian art. Shah remarks, “In the larger story of Indian art, I see Raja Ravi Varma’s traditional art as the first revolution, Husain’s modern art as the second, and DRS Editions as the third, where contemporary Indian art reaches the people with our body of work, subjects, and quality of works.” 

He concludes, “Just as the earlier masters built new paths for Indian art, I hope DRS will be remembered as the bridge that carried those paths forward with honesty, consistency, and heart to a global audience.”