The distinctive disciplines of criticism and psychology of art are closely associated with aesthetics; a component of philosophy that deals with perception of beauty, ugliness and the sublime. The human responses to colour, line, form and the manner in which the emotions condition such responses, fall in the realm of psychology of art. Art writers and critics help viewers perceive, interpret, and judge art by triggering their appreciation for art.

One such distinguished art writer and critic is Marjorie Husain who has been engaged for over three decades in promoting Pakistan's art and culture both locally and abroad. Apart from her literary work of close to a dozen books and numerous art reviews and critiques, she has curated and organised art exhibitions in the UK, New Delhi and Pakistan.

On being asked about her initial experiences with art, she says, “My husband and I met as art students in England and we came here in the 1960s, at a time when a wonderful set of people such as Bashir Mirza, Jamil Naqsh, Anwar Maqsood and some other notable artists were active. There was no market or commercial feeling for art, neither were there any galleries. People, who painted, really painted, because they were very passionate and that was their ultimate reward and I think it was a time when the most wonderful work was going on.”

The onset of the 1970s was one of the most interesting and rewarding period of Husain’s life which was a consequence of the intense period of development of modern art in Pakistan during the late 1960s. “There was a plenty of exciting work being done in Lahore and Karachi. ‘The Gallery’ run by Bashir Mirza on Kutchery Road was a great meeting place and focal point but the sale of paintings was not a priority,” she says with enthusiasm.

She recollects that Shakir Ali was a remarkable teacher and so was Khalid Iqbal; neither was interested in commerce and they produced all many worthy artists, such as Saeed Akhtar, Ahmed Khan and Ghulam Rasool. She met these artists at the print-making workshop which was set up at the Pakistan American Cultural Centre by the USIS in 1968. It was under the guidance of the renowned print-maker Michael Ponce de Leon that artists from both wings of the country shared their first exposure to printmaking tools, stationery and equipment. “Ahmed Khan was so promising that Leon offered him the post of his assistant in the States, but he declined for personal reasons,” Husain admirably says.

On a query regarding her gallery management days, she says, “It was largely due to the urging of Saeed Akhtar, Ahmed Khan and Colin David that I eventually got into running ‘The Gallery’ in 1970. Bashir Mirza had moved to Europe and sold the goodwill to Sultan Mahmood, who transferred the Kutchery Road gallery to a house in Sindhi Muslim Housing Society. We started off like an artists’ cooperative; there was a comradeship and enthusiasm about the project. Saeed Akhtar in particular was a major motivational force in assisting me to set up a working gallery.”

Husain had to move back and forth from Lahore to keep the gallery replenished. In the process she met Professor Shakir Ali, “He was always quietly encouraging and was highly amused by the way I travelled around visiting artists on the back of Saeed Akhtar's motorbike,” she adds with excitement. Husain also recollects having called on Ustad Allah Bux, Haji Sharif, Anna Molka Ahmed and other distinguished artists. “Only Chughtai's house was impenetrable,” she says, “One could never get past his brother, who would always say that the artist was out.”

The first group show of artists with exquisite paintings from Lahore and Karachi at the gallery turned out to be a success with laudatory reviews from the media. The strong proponents of art, such as Sultan Ahmed, Amjad Ali, Mohammed Jami and Hameed Zaman, seldom missed an art event or exhibition. “These were the people who supported art at a crucial juncture,” she adds. Husain believes that the strong support to artists comes from the media which is also responsible for documenting art events and occasions.

To illustrate the unique quality of Pakistani work, Husain says, “An American art writer once wanted to arrange an exhibition of Jamil Naqsh in the States. Jamil, however, declined the offer due to his belief that an artist must first become known in his own environment.” At that time Husain was quite disappointed, “but now I understand his point of view,” she confesses.

At a question whether Pakistani artists created any art movement, she says, “There is the Punjab Landscape Movement by virtuosos like Khalid Iqbal, Zulqarnain Haider and Ghulam Rasool, while Karachi had a Watercolour Movement by Abdul Hayee who would take groups out for plein air painting. Most important is the Contemporary Miniature Art Movement, spearheaded by Shazia Sikander, which is going beyond borders and with an attitude.” However, artists these days are independent and are reluctant to form groups that would start something like abstraction. They are evolving and improvising their own individual work in seclusion.

On being asked as to what the art critic should convey, she says, “I don’t think there are any rules to judge art but generally bad art or work that does not meet a certain standard, should be ignored.” She remembered Sister Wendy Beckett, her favourite art critic, and says, “I have the privilege of writing on what I like; that’s my greatest joy! Art critics should be objective and should not be influenced and should have the ability to separate the artist from his work—it is important to have a receptive approach to art so that you can respond to the artist. You have to get to that level and evaluate emotionally as well with wisdom.”

She responded to a question on how Pakistani art can achieve global recognition by saying, “My hope is that a time will come when our embassies abroad will promote art in various countries. Furthermore, there is an urgent need for the government to accord cognisance to the immense socio-economic potential of fine arts.” She emphasises that cultural attaches should be put to work with the target to get our paintings into important galleries such as the Tate Gallery.

For her advice to the budding artists, she says, “My advice is to enjoy the work and paint persistently; refrain from exhibitions and be wary of being exploited by the galleries. First find yourself through observation and execution. I remember there was a period when Naqsh, Kohari and Mirza went around looking for subjects until they found what they wanted to do.”

Husain is one of the few fortunate ones to have met some senior legends in painting and interacted with the younger artists who have been struggling to make their presence felt. “I remember the brotherhood that existed in those earlier days, the joy of painting, and the excitement as artists came closer to discovering their aesthetic problems. Solutions came much later. I am glad I was around at that time,” she says.

Concluding on a poignant note, Husain says, “My single regret is that as yet no national museum of art exists to house the precious works of artists, especially those of the rich evolutionary period of Pakistani art!”