An almost breathless vendor whom I occasionally buy from blurts out as he catches up with me during the tail end of my visit to the Lorong Kulit flea market in Penang. The sight of the book, with its front and back covers immaculately printed with the distinct red and yellow Iban Pua Kumbu design, immediately sends my heart racing.
While holding the book with quivering hands and flipping through the near pristine pages just to be sure that none were missing, the stunning pictures inside reveal the prolific painter’s genius in putting a face to what it meant to be Malaysian at that point of time. His father was a medical assistant, whose hobbies included painting and sculpting. Guided by his father’s passion and constant encouragement, young Hoessein began sketching and drawing since he was 6. His first medium was charcoal on the walls of the family home, which enraged his mother to no end.
Hoessein’s reignited enthusiasm impressed a Japanese artist serving in the military so much that he decided to personally coach him for two hours daily without any request for remuneration. By the time the war ended, he had mastered the art of still life sketching and figure drawing. Apart from being a resounding success, the show instantly cemented his reputation as a truly gifted artist when all, except one, of his 24 paintings were snapped up by adoring collectors.
The aroma of succulent pieces of spiced meat being grilled over hot coals must have attracted Mohammed Hoessein Enas to paint this satay seller.During his six-month attachment with a famous British portrait painter, Hoessein produced 27 masterpieces, which were subsequently exhibited at the Charniel Gallery in Chelsea, London.
He was happiest when sharing his God-given gift with those who could appreciate, understand and derive pleasure from his many creations.In recognition of his many contributions to society including the mentoring and nurturing of many young Malaysian talents, Hoessein is widely regarded as the “Father of Malaysian Portrait Painting”.
He also visited Australia twice in 1968 and 1976, where both occasions were made possible through Colombo Plan Awards. During the second visit, he also found time to meet like-minded painters in New Zealand.Despite having travelled far and wide, Hoessein always felt most at home in his studio in Kuala Lumpur.
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