Discover pioneering primitivist modernist artist Amrita Sher-Gil. A biographical exploration of the pioneering artist's life, work, and enduring legacy
Amrita Sher-Gil (1913-1941) stands as a towering figure in the landscape of Indian modernist art heralded for her pioneering contributions that bridged Eastern and Western artistic traditions. Born in 1913 to a Hungarian mother and an Indian father, Sher-Gil's multicultural heritage profoundly influenced her artistic vision and identity.
Amrita Sher-Gill in Her Studio Painting the Brahmacharis (Image Credits: Wikipedia.org)
According to art historian Patha Mitter, “Sher-Gil attained an iconic status in India because of her legendary beauty, her precocious talent, her outrageous behavior, her revered position in Indian modernist art, and finally her brief turbulent life and tragic death at the age of twenty-eight."
Sher-Gil's art reflects a profound engagement with her dual heritage, embodying a synthesis of European modernist techniques and Indian themes and sensibilities.
Her significance in Indian modernist art is multifaceted. Sher-Gil was crucial in transitioning Indian art from colonial academic styles to a more personal and culturally resonant modernism. Trained at the prestigious École des Beaux-Arts in Paris, she was exposed to the avant-garde movements reshaping the art world in the early 20th century. This training equipped her with a robust technical foundation and an understanding of contemporary artistic innovations, which she adapted into her work upon returning to India.
Sher-Gil's paintings are characterized by their bold use of color, dynamic compositions, and empathetic portrayal of Indian subjects, particularly women. Her depiction of rural Indian life and the female experience offers a nuanced commentary on the socio-cultural realities of her time. Challenging colonial and patriarchal narratives. Through her art, Sher-Gil sought to reclaim and redefine Indian identity, positioning herself as a key figure in the nation's cultural renaissance.
Amitra Sher-Gil: Early Life and Background
Amrita was born on the eve of the First World War, 30th January 1913 in Budapest to Marie Antoinette Gottesmann, a Hungarian-Jewish opera singer, belonging to a Hungarian-Jewish German Catholic family, and Umrao Singh Sher-Gil Majithia, an Indian Jat Sikh Sanskrit scholar and amateur photographer from the aristocrat Majithia family. Her younger sister Indira Sundaram was born a year later in March 1914. Amrita and her sibling spent the first eight years of their early childhood in Budapest. The next eight were spent in India.
Education and Training
She was drawn to arts from an early age. Her mother encouraged and nurtured her talent. Her uncle, Ervin Baktay, an Indologist and former painter, recognized Sher-Gil’s painting talent during his 1926 visit to Simla and supported her artistic ambitions.
At sixteen, her parents took her to Paris to enroll her at the Académie de la Grande Chaumière. Later she trained under the Post-Impressionist painter Lucien Simon at the École des Beaux-Arts. At eighteen she won the top prize at the Grand Salon, becoming one of its youngest Associates.
Amrita Sher-Gil in Paris 1930 (Colorised Image Credits: Paintphotographs.com)
Towards the end of 1933, she yearned to come back to India. Her French teachers supported her decision, acknowledging that artistic sensibilities were more suited to India than the West. Over the next action-packed seven-year period from 1934 to 1941, Sher-Gil focussed on a thriving painting career and often clashed with the Indian art establishment. Before marrying her cousin, Sher-Gil was briefly engaged to Yusuf Ali Khan, son of Raja Nawab Ali, a wealthy taluqdar from Uttar Pradesh. In 1938, she briefly traveled to Hungary to marry her doctor cousin Victor Egan. On their return to India, they resided in their family estate in Saraya. Tragically, her brilliant career was cut short when she passed away on 5 December 1941 at the age of 28. She succumbed to a sudden illness treated by her husband, which proved fatal. At the time of her death, her fame had spread throughout India.
Embracing Her LGBTQ identity
Amrita Sher-Gil's identity as a bisexual artist adds a significant dimension to the understanding of her work and personal life. Although discussions about sexuality during her time were often subdued due to societal norms, Sher-Gil's biographical accounts and letters reveal her relationships with both men and women. An important aspect of her identity that influenced her artistic perspective and expression.
Sher-Gil’s life was marked by a voracious sexual appetite, a characteristic she shared with many other gifted individuals. Her hedonistic outlook on life reflected an ‘amoral’ attitude, wherein she believed in the healing power of pleasure. She once confessed, “I am always in love, but fortunately for me and unfortunately for the party concerned, I fall out of love or rather fall in love with someone else before any damage can be done! You know the type of alcoholic who stops drinking at the merry stage?” This candid admission highlights her approach to love and relationships as fluid and transient, mirroring the fluidity of her artistic exploration.
Sher-Gil began exploring her sexual identity while in Europe. Her time in Paris was characterized by a vibrant and uninhibited exploration of her sexuality and artistic expression. Highly sexed and unapologetically passionate, she immersed herself in the Bohemian lifestyle of the city, engaging with multiple lovers both men and women, and enjoying the freedom that Parisian society offered.
Known as the exotic ‘little Indian princess,’ she engaged in eroticism that was free from the expectations of commitment or procreation. This phase of her life in Paris was instrumental in shaping her liberal outlook on her personal and professional life. The city’s vibrant artistic community provided a conducive environment for her to explore and express her bisexuality openly.
In a letter to her mother, Amrita wrote: “I need someone to physically meet my sexual needs because I believe that it is impossible to fully transform one’s sexual desires into art . . . I thought I would have something with a female when the opportunity arises.”
Sher-Gil approached relationships with men and women openly and honestly. She was drawn to the daughter of the poet Sarojini Naidu and engaged in a relationship with Edith Lang, a Hungarian pianist of distinction. She embarked on a short-lived yet torrid affair with British journalist Malcolm Muggeridge, who described her as "rose water and raw spirit." British journalist Alastair Sooke, of the Telegraph wrote in 2007, "Sher-Gil had many lovers, including, perhaps, India's future prime minister Jawaharlal Nehru."
Amrita’s intense sexuality fed directly into her way of making art. ‘How can one feel the beauty of a form, the intensity or the subtlety of a color, the quality of a line, unless she is a sensualist of the eyes?’ she once rhetorically asked.
Sher-Gil’s approach to her body and sexuality was boldly unconventional, particularly for a woman of her time. She reveled in her physicality, often using her body as a subject in her art. Her nude self-portraits are a testament to this fearless self-exploration and expression. One of the most notable examples is her work titled "Torso" from 1931. This painting is an accomplished study of masses and textures, showcasing her technical skill and ability to render the human form with realism and sensuality.
Torso canvas painting by Amrita Sher-Gil 1931 (Source: The Triumph of Modernism: India's Artists and the Avant-Garde)
Title: Torso
Creator: Amrita Sher-Gil
Date Created: 1931
Location: Paris
Type: Oil Painting on Canvas
In "Torso," Sher-Gil meticulously captures the contours and textures of her body. Creating a powerful image that is intimate and universally resonant. The painting is an exploration of the nude form and an assertion of her agency and self-acceptance. Her use of light and shadow emphasizes the three-dimensionality of the form, while the confident brushstrokes convey a sense of vitality and presence.
Trailblazing Modernist Art in India
Amrita Sher-Gil's contributions to Indian art are characterized by her relentless efforts to break away from the colonial and traditional stereotypes that dominated the Indian art movement in the early 20th century. During that time, Indian art was heavily influenced by British academic styles as can be seen from the works of Raja Ravi Varma and the Bengal School of Art, led by Abanindranath Tagore, which sought to revive classical Indian art forms in response to colonial domination. While the Bengal School was the dominant force in reclaiming Indian artistic traditions, Sher-Gil recognized the need for a more contemporary approach that reflected the changing realities of Indian society.
In India, Sher-Gil was initially met with skepticism from more conservative circles who were accustomed to the romantic and nationalist themes prevalent in the Bengal School of Art.
Her unique approach to blending Western modernist techniques with Indian themes marked a significant departure from the prevailing artistic conventions of her time. Sher-Gil's innovative style and her ability to articulate the complexities of her bicultural identity laid the groundwork for a new wave of Indian artists who sought to break free from colonial and traditional constraints.
Sher-Gil's role as a pioneer is evident in her ability to challenge and redefine the artistic norms of her era. She was one of the first Indian artists to adopt and adapt the principles of European modernism, using them to express distinctly Indian experiences and themes. Her works, such as "Bride’s Toilet" (1937) and "Village Scene" (1938), exemplify this synthesis, combining the bold colors and dynamic compositions of modernist art with the rich cultural heritage of India.
Bride's Toilet oil painting by Amrita Sher-Gil 1937 (Image Credits: Wikipedia Commons)
Title: Bride's Toilet
Creator: Amrita Sher-Gil
Date Created: 1937
Location: Shimla
Physical Dimensions: Oil on Canvas, 57 inches x 35 inches (146cm x 88.8cm)
Type: Oil Painting on Canvas
Sher-Gil’s art challenged the romanticized and often exoticized representations of India. That was prevalent in colonial and nationalist art. She rejected the idyllic and mythological depictions of Indian life, instead focusing on the everyday experiences of Indian people. Her paintings, such as "Three Girls" (1935) and "In the Ladies' Enclosure" (1938), portrayed Indian women and rural life with a sense of realism and empathy, highlighting the dignity and strength of her subjects.
Three Girls oil painting by Amrita-Sher-Gil 1935 (Image Credits: Wikimedia Commons)
Title: Three Girls
Creator: Amrita Sher-Gil
Date Created: 1935
Type: Oil painting on Canvas
Physical Dimensions: 28 inches x 39.17 inches (73.5cm X 99.5cm)
Location: Amritsar
Modern critics and art historians have re-evaluated Sher-Gil's work, acknowledging her pioneering role in the development of Indian modernism and her ability to navigate and synthesize diverse cultural influences. In his book "The Triumph of Modernism: India's Artists and the Avant-Garde," Partha Mitter highlights Sher-Gil’s unique position as a bridge between Eastern and Western art traditions.
According to Mitter, Sher-Gil’s work represents a critical juncture in Indian art, where the rigid boundaries between East and West began to dissolve, giving rise to a more fluid and dynamic artistic language. Her paintings are seen as precursors to the broader modernist movement in India, influencing subsequent generations of artists to embrace a more global perspective while remaining rooted in their cultural heritage.
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Primitivism in the Art of Amrita Sher-Gil
Amrita Sher-Gil emerges as a pivotal figure in the evolution of Indian modernism, her artistic vision inextricably linked to her self-definition as a modernist and her commitment to interpreting the lives of India's rural poor through her paintings. This commitment was not merely aesthetic but formed the cornerstone of what she termed her "artistic authenticity."
Unlike Sunayani Devi, her fellow primitivist and pioneer modernist, Sher-Gil’s primitivism stemmed from a melancholic vision of rural India. Conscious of her position as a modernist, Sher-Gil sought to balance empathy for her subjects with a formalist technique, drawing influence from the post-impressionist ‘flat’ style reminiscent of Gauguin. This influence is evident in works such as her "Self-portrait as a Tahitian" (1934).
Self-Portrait As A Tahitian oil on canvas by Amrita Sher-Gil 1934 (Image Credits: Wikimedia Commons)
Title: Self-portrait as a Tahitian
Creator: Amrita Sher-Gil
Date Created: 1934
Type: Oil painting on Canvas
Physical Dimensions: 35 inches × 22 inches (90 cm × 56 cm)
Location: Kiran Nadar Museum of Art, Delhi
Sher-Gil's approach rejected historical revivalism in favor of an art form deeply connected to the Indian experience. As she articulated, "I should like to see the art of India . . . produce something vital connected with the soil, yet essentially Indian." This rejection of historicism in favor of a more grounded, contemporaneous approach became fundamental to her artistic philosophy.
During her three years at Ecole des Beaux Arts, her exceptional talent emerged through consistent recognition, winning the first prize every year, in the annual still-life and portrait contests. In 1932, her debut at the Grand Salon garnered praise from numerous art critics for its powerful impact. The following year, in 1933, her remarkable painting "Young Girls" captivated audiences and critics with its technical brilliance, particularly for portraying so many tonal variations and shades of the color white. The masterpiece earned her the prestigious title of "Picture of the Year" and a gold medal, leading to her rare election as an Associate of the Grand Salon at just 18 years old. She made history as the youngest individual and the first Indian and the first Asian to receive this honor.
Young Girls by Amrita Sher-Gil 1939 (Image Credits: Wikimedia Commons)
Title: Young Girls
Creator: Amrita Sher-Gil
Date Created: 1932
Type: Oil painting on Canvas
Physical Dimensions: 52.75 inches × 64.5 inches (134cm x 164cm)
Location: Paris
Despite this recognition, Sher-Gil felt an increasing longing for India, convinced that it held the key to her artistic destiny. She wrote, "I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter." She further added on her vision of India: "It was the vision of a winter in India -- desolate, yet strangely beautiful -- of endless tracks of luminous yellow - grey land, of dark bodied, sad faced, incredibly thin men and women, who move silently looking almost like silhouettes, and over which an undefinable melancholy reigns."
On return to India, Sher-Gil's work underwent an immediate transformation in theme, spirit, and technical expression. She found her artistic mission in life: to interpret the lives of the poor in Indian villages through her paintings. As she described it, her aim was to paint "those silent images of infinite submission and patience, to depict their angular brown bodies, strangely beautiful in their ugliness; to reproduce on canvas the impression their eyes created on me."
Sher-Gil once said, "Europe belongs to Picasso, Matisse and many others, India belongs only to me." It pithily captures her artistic philosophy. It reflects her ambition and understanding of her unique position at the intersection of European modernism and Indian artistic traditions.
Themes, Symbolism and Imagery of Amrita Sher-Gil's Paintings
Themes of alienation and belonging permeate Amrita Sher-Gil's oeuvre. A poignant reflection of her personal experiences in the complex cultural and social landscapes of her time. Her work consistently grapples between dislocation and yearning, effectively capturing her quest for a sense of place and identity.
Mother India Amrita Shergill 1935, oil on canvas (Image Source: Goddess and the Nation)
Title: Mother India
Creator: Amrita Shergill
Date: 1935
Type: Oil Painting on Canvas
Physical Dimension: 25.5 inches x 32.2 inches (65 cm x 81.8)
Location: Shimla
“Bharat Mata” (1935) and "The Village Scene" (1938) exemplifies Sher-Gil's ability to portray rural Indian life with empathy and authenticity. Through her masterful use of color and composition, she crafts a narrative that speaks to the beauty and hardship of rural existence.
Village Scene oil painting by Amrita Sher-Gil 1938 (Image Source: Wikimedia Commons)
Title: Village Scene
Creator: Amrita Shergill
Date: 1938
Type: Oil Painting on Canvas
Physical Dimension: 37.40 inches x 26 inches (95 cm × 66 cm)
In "The Swing" (1936), Sher-Gil further explores the tension between communal engagement and individual isolation. The painting depicts a group of women engaged in the ostensibly joyful activity of swinging, yet their expressions and the overall composition evoke a profound sense of introspection and solitude. This juxtaposition of shared activity and personal alienation underscores a recurring theme in her work, highlighting the complex nature of human connection and separation.
The Swing oil painting by Amrita Sher-Gil 1936 (Image Source: Wikimedia Commons)
Title: The Swing
Creator: Amrita Shergill
Date: 1940
Type: Oil Painting on Canvas
Physical Dimension: 27.5 inches x 35.4 inches (70cm X 90cm)
Location: Saraya
"In the Ladies' Enclosure" (1938) offers another nuanced exploration of these themes. By portraying a group of women within a private, enclosed space, Sher-Gil dives into the intricate social dynamics and sense of confinement experienced by her subjects. The painting demonstrates her acute sensitivity to the subtleties of women's lives. The enclosure symbolizes societal limitations and restrictions. Sher-Gil illuminates the tension between individuality and conformity, inviting viewers to contemplate the complex negotiations between personal identity and social expectations.
In The Ladies Enclosure oil painting by Amrita Sher-Gil 1938 (Image Source: Wikimedia Commons)
Title: In the Ladies' Enclosure
Creator: Amrita Shergill
Date: 1938
Type: Oil Painting on Canvas
Physical Dimension: 32 inches x 22 inches (81.28 cm X 55.88 cm)
The themes of alienation, identity, and belonging pervade across her later works. Sher-Gil consistently demonstrates her ability to capture the multifaceted nature of human experience, particularly as it relates to feelings of belonging and alienation.
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Amrita Sher-Gil’s Paintings: Tracing the Style Evolution
Amrita Sher-Gil’s painting style developed as she evolved as an artist. Art historian and art critic Partha Mitter noted, “Sher Gil's romantic vision of rural India evolved out of four distinct strands in her artistic make-up: a Hungarian version of neo-impressionism, a post-impressionist ‘flat’ style reminiscent of Gauguin, the powerful influence of the ancient Buddhist paintings of Ajanta, and the final ‘colorism’ that she left incomplete at her death.”
Hungarian Version of Neo-Impressionism
Amrita Sher-Gil’s early exposure to European art profoundly influenced her style, particularly her engagement with Neo-Impressionism during her formative years in Hungary. Neo-Impressionism, characterized by its scientific approach to color and light, is evident in Sher-Gil's meticulous application of color theory. Unlike the more spontaneous strokes of Impressionism, Neo-Impressionists like Georges Seurat employed systematic techniques, such as pointillism, to create luminous compositions.
Sher-Gil's Hungarian period shows this influence in her use of color and light. Her paintings from this time, such as "Young Girls" (1932), reflect a delicate yet deliberate approach to color application. She experimented with small, distinct brush strokes and keen attention to the interplay of light and shadow, creating vibrant, dynamic surfaces. This early phase demonstrates her technical prowess and sets the foundation for her later stylistic evolution.
Post-Impressionist ‘Flat’ Style Reminiscent of Gauguin
Sher-Gil’s sojourn at the École des Beaux-Arts in Paris brought her into contact with Post-Impressionism, particularly the works of Paul Gauguin. Gauguin’s emphasis on symbolic content and his ‘flat’ style—characterized by bold colors, simplified forms, and a departure from the three-dimensional perspective—resonated deeply with Sher-Gil.
In works such as "Self-Portrait as a Tahitian" (1934), Sher-Gil adopts Gauguin’s aesthetic principles. The painting’s flat planes of color and stylized forms echo Gauguin’s approach, while the subject matter reflects her own identity and exoticized cultural experiences. This style allowed Sher-Gil to explore the expressive potential of color and form, moving away from naturalistic representation towards a more symbolic and personal mode of expression.
Sher-Gil’s engagement with Gauguin’s techniques enabled her to articulate complex themes of identity and cultural hybridity. By employing a flat, post-impressionist style, she was able to navigate and challenge the exoticism associated with non-Western subjects, asserting her voice within the modernist discourse.
Influence of Ancient Buddhist Paintings of Ajanta
Sher-Gil’s return to India marked a significant shift in her artistic focus, as she sought to reconnect with her Indian heritage. The Ajanta frescoes and her southern sojourn had a material impact on her artistic evolution.
Like Abanindranath Tagore and the Bengal School of Art before her, the ancient Buddhist paintings of Ajanta, renowned for their expressive use of line, color, and narrative, profoundly influenced her work during this period. These murals, dating from the 2nd century BCE to the 6th century CE, are celebrated for their depiction of human figures, vibrant palettes, and spiritual themes.
She was particularly drawn to the distinctive 'up-tilted' three-quarter faces depicted in these frescoes, a technique she subsequently adopted to convey depth in her works. She incorporated the darker skin tones prevalent in these ancient paintings into her palette, reflecting a more authentic representation of Indian subjects.
This influence is evident in works such as "The Fruit Vendors," where Sher-Gil introduced austere shades like red ochre in her backgrounds, creating a striking contrast with brightly colored figures and objects. The technique allowed her to achieve a balance between the somber and the vivid, echoing the visual language of the Ajanta frescoes while maintaining her modernist sensibilities.
Fruit Vendors oil painting by Amrita Sher-Gil (Image Source: Wikipedia Commons)
Title: Fruit Vendors
Creator: Amrita Shergill
Type: Oil Painting on Canvas
She so deeply admired these frescoes, that she once said, 'It seems paradoxical but I know for certain that had we not come away to Europe I should perhaps never have realized that a fresco from Ajanta or a small piece of sculpture in the Musée Guimet is worth more than the whole Renaissance! '.
After visiting Ajanta she travelled further south where she discovered that the dark-skinned Tamils, ideal for her vision of rural India.
Sher-Gil’s immersion in the Ajanta frescoes is evident in her works such as "Bride’s Toilet" (1937) and "Village Scene" (1938), and possibly the finest of the genre, “The Brahmacharis” (1937) depicting a group of Brahmins from southern India. These paintings exhibit a stylistic departure from her earlier European-influenced works, embracing the fluid lines and rich, earthy colors characteristic of the Ajanta murals. The figures in these paintings are imbued with a sense of grace and spirituality, echoing the classical aesthetics of the ancient frescoes.
Brahmacharis oil painting by Amrita Sher-Gill 1937 (Image Source: NGMA/Google Arts & Culture)
Title: The Brahmacharis
Creator: Amrita Shergill
Date: 1937
Type: Oil Painting on Canvas
Physical Dimension: 567 inches x 340.5 inches (1440 cm x 865 cm)
Location: National Gallery of Modern Art
The Ajanta influence allowed Sher-Gil to incorporate a distinctly Indian visual vocabulary into her modernist art. By merging ancient Indian artistic traditions with her modernist training and observations of contemporary rural life, Sher-Gil created a body of work that was simultaneously innovative and deeply connected to the Indian cultural context exemplifying her ability to bridge the cultural divide and create a truly global art form.
Final ‘Colourism’
In the final phase of her career, Sher-Gil’s exploration of color reached new heights, culminating in a vibrant ‘colourism’ that remained incomplete at her untimely death. This phase is characterized by her bold and expressive use of color, which became a central element of her artistic language. Her last works exhibit a mastery of color to convey emotion, atmosphere, and narrative depth.
Hill Women oil on canvas by Amrita Sher-Gil 1937 (Image Credits: Wikipedia Commons)
Title: Hill Women
Creator: Amrita Shergill
Date: 1935
Type: Oil Painting on Canvas
Physical Dimension: 58.0 inches × 34 inches (147.3 cm × 87 cm)
Location: Private Collection
Paintings such as "Red Clay Elephant" aka “Ganesh Puja” (1938), "Hill Women" (1937), and “Haldi Grinders” 1940. As Partha Mitter writes, “The Haldi Grinder (1940) is a singular study of pure bright pigments that literally ‘jump’ out of the dull grey-green landscape.” The paintings of this period illustrate the mature phase of her coloristic approach. In these works, Sher-Gil employed large, unmodulated areas of intense color to create dramatic compositions that resonate with emotional and symbolic power. Her use of color became more autonomous, moving beyond mere descriptive function to become a vehicle for personal and cultural expression.
Haldi Grinders oil painting by Amrita-Sher-Gil1940 (Image Source: The Triumph of Modernism: India's Artists and the Avant-Garde)
Title: Haldi Grinders
Creator: Amrita Shergill
Date: 1940
Type: Oil Painting on Canvas
Physical Dimension: 30.11 inches × 40.15 inches (76.5 cm X 102 cm)
Location: Private Collection
This final phase of Sher-Gil’s work signifies her ultimate artistic vision, where only color becomes a dynamic and expressive force. Her untimely death in 1941 at the age of 28 cut short this promising evolution, leaving behind a tantalizing glimpse of what might have been a fully realized coloristic style. Despite the incomplete nature of this phase, it highlights Sher-Gil’s relentless pursuit of innovation and her profound understanding of the emotional and symbolic potential of color in art.
Red Clay Elephant aka Ganesh Punja oil painting by Amrita Sher-Gil 1938 (Image Source: Wikimedia Commons)
Title: Red Clay Elephant aka Ganesh Puja
Creator: Amrita Shergill
Date: 1938
Type: Oil Painting on Canvas
Critiquing the Bengal School of Art: Crossing Swords with the Indian Art Establishment
The arrival of Amrita Sher-Gil on the Indian art scene, in the early 20th century, witnessed a transformative and tumultuous period. A young, brash, provocative, and ambitious artist Amrita Sher-Gil, sought to challenge the prevailing artistic norms. Her combative attitude and unapologetic pursuit of recognition in what she thought as a "provincial artistic milieu" of the Indian art scene set the stage for a series of controversial encounters with established art institutions and fellow artists.
Upon her arrival in India, Sher-Gil immediately positioned herself as an agent of change, boldly declaring to the press her intention to introduce a "living" element to Indian art. This audacious stance was exemplified by her reaction to the venerable Simla Fine Arts Society's decision in 1935 to award her a prize for one painting while rejecting others. Indignant at this partial recognition, she declined the award, penning a letter that highlighted her international credentials:
"I shall in future be obliged to resign myself to exhibiting them merely at the Grand Salon Paris, of which I happen to be an Associate, and the Salon des Tuileries known all over the world as the representative exhibition of Modern Art . . . where I can, at least, be sure of receiving some measure of impartiality."
The response underscored her perception of a disconnect between her avant-garde sensibilities and the conservative tastes of Indian art societies. By 1939, Sher-Gil's conviction of facing widespread hostility in the Indian art world had solidified, fueled by further rejections from prominent institutions. However, her innovative approach and dynamic energy were gradually gaining traction, as evidenced by her gold medal win at the Bombay Art Society in 1937 for her painting "Three Women."
Sher-Gil's relationships with her contemporaries, particularly other key modernists, were complex and tense. Her opinions of artists like Rabindranath Tagore and Jamini Roy fluctuated, sometimes dramatically. She developed an appreciation for Tagore’s visual art while dismissing his literary works with characteristic spiritedness:
"As for Tagore's piddling little poetry, I have [a] profound contempt . . . the only thing that Tagore can do is paint."
Similarly, her assessment of Jamini Roy's work evolved from initial admiration to critical comparison with historical Indian art:
"While admitting that Jamini Roy has a certain talent . . . I feel that you are doing a vast injustice to the age-old fresco-painters [Ajanta] by comparing [his work] with theirs."
Sher-Gil reserved her most scathing comments for the Bengal School, which she felt stifled Indian modernism. With her characteristic acerbic tone Sher-Gil noted, “more on grounds of priority than of merit, for in spite of its illustrious antecedents in Ajanta and the equally admirable later schools of Indian miniature painting, which the Bengal movement strives to emulate, it cannot claim to have captured the spirit of Indian art of bygone days. Far from fulfilling its vast ambition, this school is responsible for the stagnation that characterizes Indian painting today. The tenets of the Bengal School seem to have a cramping and crippling effect on the creative spirit.” As Partha Mitter writes in his book The Triumph of Modernism: India's Artists and the Avant-Garde, ‘Her radio broadcast of 19 August 1941, months before her death, publicly denouncing the Bengal School, has earned justified notoriety.’
While acknowledging Nandalal Bose's prominence, she privately derided his work as displaying "uninspired cleverness" limited by adherence to a particular school. Her public denunciation of the Bengal School in a 1941 radio broadcast, mere months before her death, cemented her reputation as a polarizing figure in Indian art history. Her confrontational approach, while controversial, played a crucial role in stimulating debate and pushing the boundaries of Indian modernism in the early 20th century.
Recognition and Resurgence of Amrita Sher-Gil
Despite the hostility and controversy between Amrita Sher-Gil and the Indian art establishment, her energy and originality soon began to make their mark. In 1936 she won two prizes for a self-portrait in the Delhi Fine Arts Exhibition. Professor R. C. Tandon, of Allahabad University, organized an exhibition on the campus in February 1937, followed by another exhibition in Hyderabad.
Later, the Bombay Art Society awarded her a gold medal for her painting "Three Women" in 1937, with her friend and advocate Khandalavala serving on the jury.
Sher-Gil's debut solo exhibition, held at the posh Faletti's Hotel in Lahore in November 1937, further cemented her growing reputation. The show attracted the attention of notable critics and artists and garnered praise from them.
Charles Fabri, the Hungarian art critic writing for the Civil and Military Gazette in Lahore, praised her work as a form of modernism that was innovative, accessible, and modern without being incomprehensible.
Another critic, Rabindranath Deb, noted " ‘masculine strength [of her work], which shows the immense intellectual quality of the artist . . . a rare quality in [a] woman’ framing it as an exceptional trait for a woman artist of the time. A gendered critique, while problematic by today's standards, highlights the barriers and preconceptions Sher-Gil was challenging through her art.
English artist Patrick Foulds added to the chorus of acclaim, remarking on Sher-Gil's reputation across India as an artist of exceptional talent. He praised her work as the genesis of a new Indian art form, one that was "more vital" and deeply connected to the land and its people.
Interestingly, while critics and fellow artists debated the merits and implications of Sher-Gil's work, the public response was driven by a different form of fascination. Stories of her unconventional lifestyle, controversial statements, and her subjects' perceived "immorality" drove the crowds to her exhibitions.
Amrita Sher-Gil and Frida Kahlo: A Comparative Look at Two Iconic Artists
Amrita Sher-gil is often referred to as India's Frida Kahlo. That Amrita Sher-Gil needs to be referred by some art writers in India, as India's Frida Kahlo not Frida Kahlo as Mexico's Amrita Sher-Gil is an illustrative example of an inferiority complex nurtured by the deeply colonized minds of Indian art writers. Nonetheless, a comparative analysis of Amrita Sher-Gil and Frida Kahlo reveals striking parallels in their personal lives and artistic expressions. Both artists, children of mixed marriages, navigating complex sexual identities, channeled their multifaceted experiences into their works that continue to resonate with contemporary audiences
Sher-Gil and Kahlo's mixed heritage—Sher-Gil was born to a Hungarian mother and an Indian father, Kahlo to a German father and a Mexican mother. Both had fathers with an abiding interest in photography. Both experienced cultural duality, a sense of fragmented identity, and bisexuality. Themes both artists explored extensively in their artworks.
Both artists focussed intensely on national identity by incorporating vibrant folk art, symbolism, and cultural motifs in their artworks. Both artists grappled with cultural duality and fragmented self, that shaped the emotional depth and thematic content of their art.
Sher-Gil's "Two Girls," 1939, one of her largest paintings, is a manifestation of her dual heritage. The composition depicts a provocative white woman in the nude juxtaposed with a demure black woman, a visual metaphor of Sher-Gil's dual cultural heritage of Hungarian and Indian identities.
Two Girls oil on canvas by Amrita Sher-Gil 1939 (Image Source: The Triumph of Modernism: India's Artists and the Avant-Garde)
Title: Two Girls
Creator: Amrita Shergill
Date: 1939
Type: Oil Painting on Canvas
A striking parallel is found in Kahlo's painting "The Two Fridas" (1939), which depicts two portraits of the Kahlo side by side, one in European attire, the other in traditional Mexican clothing—physically connected yet distinct, a metaphor of her dual identities. Incidentally, both the paintings were created in 1939!
The Two Fridas oil on canvas by Frida Kahlo 1939 (Image Source: Wikimedia Commons)
Title: Two Fridas
Creator: Frida Kahlo
Date: 1939
Type: Oil Painting on Canvas
Physical Dimension: 68.3 inches × 68 inches (173.5 cm × 173 cm)
Location: Museo de Arte Moderno, Mexico City
Both Sher-Gil and Kahlo led lives marked by physical and emotional turmoil, having suffered multiple miscarriages and abortions. After suffering one of her abortions, Sher-Gil sadly reflected, ‘I am like an apple, all red from outside, but rotten inside.’ Kahlo's art, infused with pain and surreal symbolism, speaks to her lifelong battle with physical agony and emotional anguish. Despite these challenges, or perhaps because of them, both artists emerged as pioneering figures in their respective art scenes. Sher-Gil is celebrated as a pioneer of Indian modernist art and Kahlo as an icon of Mexican art.
Legacy of Amrita Sher-Gil: Enduring Influence & Contributions to Contemporary Art World
Amrita Sher-Gil's contributions to Indian art is characterized by her pioneering efforts to transcend the colonial and traditional stereotypes that dominated the Indian artistic landscape in the early 20th century.
Despite her untimely death at the young age of 28, Sher-Gil's legacy as a modernist grew exponentially, securing her a lasting place in the annals of Indian and international art history.
By forging an independent path away from the then-dominant Western academic art to more contemporary modernist art techniques suffused with Indian themes and sensibilities, she inspired a new generation of artists to explore their own cultural identities through a modernist lens. Notable figures such as S.H. Raza, M.F. Husain, F.N. Souza, and members of the Progressive Artists' Group drew inspiration from Sher-Gil's approach, further advancing the development of Indian modernism.
The relevancy and significance of Sher-Gil's work are evident in the numerous exhibitions and retrospectives dedicated to her art. These exhibitions, hosted by prestigious institutions such as the National Gallery of Modern Art in New Delhi and the Tate Modern in London, have played a crucial role in cementing her legacy and introducing her work to broader audiences. Such curatorial attention underscores Sher-Gil's important position within the global art canon and her continued influence on contemporary art practices.
The Little Girl in Blue oil on canvas by Amrita Sher-Gil 1934 (Image Source: Wikimedia Commons)
Title: Little Girl in Blue
Creator: Amrita Sher-Gil
Date: 1934
Type: Oil Painting on Canvas
Physical Dimension: 19 inches × 16.0 inches (48 cm × 40.6 cm)
Location: Private Collection
Her works continue to draw massive interest when available. In 2006, her painting Village Scene sold for ₹6.9 crores at an auction in New Delhi. In 2018, her painting Little Girl in Blue, was sold for 18.69 crores in a Sotheby's auction in Mumbai. In 2023 Sher-Gil's painting, The Story Teller (1937) fetched $7.4 million (Rs 61.8 crore). A record for the highest price achieved by an Indian artist.
The Story Teller Oil Painting By Amrita Sher-Gil 1937 (Image Credits: Wikipedia Commons)
Title: The Story Teller
Creator: Amrita Sher-Gil
Date: 1937
Type: Oil Painting on Canvas
Physical Dimension: 23 inches × 31 inches (59 cm × 79 cm)
Location: Private Collection
The significance of Amrita Sher-Gil's artistic contributions to Indian culture is underscored by the Indian government's declaration of her works as National Art Treasures. Most of her paintings are housed in the National Gallery of Modern Art (NGMA) in New Delhi. The Government of India has further stipulated that her paintings sold within India must remain in the country. The policy has resulted in a scarcity of Sher-Gil's works in the global art market, with fewer than ten pieces having been sold internationally.
The enduring relevance of her work in contemporary art discourse, coupled with her lasting influence on subsequent artists and her recognition in major international exhibitions, solidifies Sher-Gil's status as a pivotal figure in the development of modern Indian art.
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Some popular queries and frequently asked questions on Amrita Sher-Gil and their answers based on the article above.
Q: What happened to Amrita Sher-Gil?
A: Amrita Sher-Gil died tragically on December 5, 1941, at the young age of 28. She succumbed to a sudden illness treated by her husband, which proved fatal.
Q: When did Amrita Sher-Gil move back to India?
A: Amrita Sher-Gil returned to India towards the end of 1933. She strongly longed to return, believing India held the key to her artistic destiny.
Q: Who is Frida Kahlo compared to?
A: Amrita Sher-Gil is often referred to as "India's Frida Kahlo" due to similarities in their backgrounds, artistic themes, and cultural impact.
Q: Where did Amrita Sher-Gil live in India?
A: After returning to India, Sher-Gil lived in various places including Shimla and Saraya (her family estate). She also spent time in southern India, which greatly influenced her work.
Q: What was Amrita Sher-Gil's style of painting?
A: Sher-Gil's style evolved throughout her career, incorporating elements of:
1. Hungarian neo-impressionism
2. Post-impressionist 'flat' style reminiscent of Gauguin
3. Influence from ancient Buddhist paintings of Ajanta
4. A final phase of vibrant 'colourism'
Q: What is the size of Amrita Sher-Gil paintings?
A: The sizes of Sher-Gil's paintings varied. For example:
- "Three Women" (1935): 73.5 cm × 99.5 cm (28.74 inches × 39.17 inches)
- "Hill Women" (1935): 147.3 cm × 87 cm (58.0 inches × 34 inches)
- "The Story Teller" (1937): 59 cm × 79 cm (23 inches × 31 inches)
Q: Which European style influenced Amrita Sher-Gil most?
A: Post-Impressionism, particularly the 'flat' style reminiscent of Paul Gauguin, had a significant influence on Sher-Gil's work.
Q: What is the Haldi Grinder painting about?
A: "Haldi Grinders" (1940) is a singular study of pure bright pigments that contrast with a dull grey-green landscape, showcasing Sher-Gil's mature coloristic approach.
Q: What was Amrita Sher-Gil known for?
A: Sher-Gil was known for:
- Pioneering modernist art in India
- Blending Western and Indian artistic traditions
- Her bold use of color and expressive portrayal of Indian subjects
- Challenging colonial and patriarchal narratives through her art
Q: Why is Amrita Sher-Gil important?
A: Sher-Gil is important because she:
- Helped transition Indian art from colonial academic styles to a more personal and culturally resonant modernism
- Influenced subsequent generations of Indian artists
- Contributed to the development of a distinctly Indian modern art
- Challenged societal norms through her art and lifestyle
Q: Who is the mother of Amrita Sher-Gil?
A: Amrita Sher-Gil's mother was Marie Antoinette Gottesmann, a Hungarian-Jewish opera singer.
Q: What was the theme of Amrita Sher-Gil's paintings?
A: Sher-Gil's paintings often explored themes such as:
- Rural Indian life and landscapes
- The female experience in India
- Cultural duality and identity
- Alienation and belonging
Q: What awards did Amrita Sher-Gil win?
A: Some of Sher-Gil's notable awards include:
- Gold medal at the Grand Salon in Paris (1933)
- Election as an Associate of the Grand Salon at age 18
- Gold medal from the Bombay Art Society for "Three Women" (1937)
Q: What are the achievements of Amrita Sher-Gil?
A: Amrita Sher-Gil's achievements include:
- Becoming one of the youngest and first Asian artists to be elected as an Associate of the Grand Salon in Paris
- Pioneering a new modernist art movement in India
- Having her works declared as National Art Treasures by the Indian government
- Inspiring future generations of Indian artists
- Setting a record for the highest price achieved by an Indian artist ($7.4 million for "The Story Teller" in 2023)
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For notes and references, please refer to the Notes and Reference section.
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Notes and References
https://www.google.co.in/books/edition/The_Triumph_of_Modernism/krdWkzVLSbkC?hl=en&gbpv=0
Parallel lives: Frida Kahlo and Amrita Sher-Gil — Google Arts & Culture
https://archive.org/details/frida00hayd/page/n5/mode/2up
Notes and References
https://www.google.co.in/books/edition/The_Triumph_of_Modernism/krdWkzVLSbkC?hl=en&gbpv=0
Parallel lives: Frida Kahlo and Amrita Sher-Gil — Google Arts & Culture
https://archive.org/details/frida00hayd/page/n5/mode/2up
(PDF) Amrita Sher-Gil's Paintings: a Cultural Evaluation | Dr. Mandakini Sharma - Academia.edu
Amrita Sher-Gil's 'The Story Teller' Fetches Record Rs 61.8 Crore At Auction
(#12) AMRITA SHER-GIL | The Little Girl in Blue
Brahmacharis - Amrita Sher-Gil — Google Arts & Culture
https://web.archive.org/web/20140202161352/http://www.outlookindia.com/article.aspx?283591
https://www.artnet.com/artists/maqbool-fida-husain/biography
Evening Sale: Modern Art -Sep-16, 2023 -Lot 13 -Amrita Sher-Gil
(#12) AMRITA SHER-GIL | The Little Girl in Blue
