Sher-Gil received her early art training in Florence. Expelled from the art school a year later for drawing women in the nude, she moved with her family to Paris, where she worked under Pierre Vaillant and then Professor Lucien Simon at Ecole Nationale des Beaux Arts. She studied there for three years and her painting; 'Young Girls' was awarded the Picture of the Year, making her the youngest person ever to receive this honor. Her earlier works are heavily influenced by the European style of painting, especially by the post- Impressionists.
Yet by the 30s, Sher-Gil was convinced of the need to come back to India to her roots. She returned home in She once said, "As soon as I put my foot on Indian soil my painting underwent a change not only in subject and spirit, but also in technical expression.
It became more fundamentally Indian. She however dismissed their work as being too 'effeminate and sentimental'. She developed her own style that was a mix of the western and oriental art styles, with the themes being predominantly women oriented and feminist.
Sher-Gil's women, often drawn in their own private spaces, were not necessarily beautiful ladies from affluent families. Rather, they came from rural communities and villages, from the middle, and lower middle class families.
She is considered the single biggest role model for post-independence women artists, in search of their own roots and identity. Her nuanced persona could easily slip from western outfit into a traditional brocaded sari or masquerade the bohemian and get into roles other than the domestic. She drew a series of self-portraits in pencil when she was barely 14, learning the skills to transcribe, transform and transmit varied moods and moments through it.
Indira dressed as a European gentleman with Amrita dressed as her female partner. Amrita at work The majority of works by Amrita Sher- Gil in the public domain are with the NGMA, which houses over paintings by this meteoric artist. She was blessed with beauty, breeding, charismatic personality and extra ordinary talent as a painter.
In , she joined the Ecole des Beaux Arts in Paris. Her painting skills were recognized and acclaimed; she loved the bohemian life of artists in Paris.
Many of the paintings done in the early s are in the European style, and include a number of self portraits. There are also many paintings of life in Paris, nude studies, still life studied, as well as portraits of friends and fellow students. Of these, the self portraits form a significant corpus. They captured the artist in her many moods- somber, pensive and joyous- while revealing a narcissistic streak in her personality. Her style underwent a radical change by the mid- 30s.
This time, she looked at India with the eyes of an artist. In India, she appropriated the language of miniatures. The complexities of her life- she was of mixed parentage and her art school background in Paris made her both, an insider and outsider, as did her ambivalent sexuality- promoted her to constantly reinvent her visual language.
She sought to reconcile her modern sensibility with her enthusiastic response to traditional art-historical resources. But later, she started experimenting and tried representing the non-western body in her paintings. Most of her paintings reflected the rural side of India. She used an abstract style along with vivid colors influenced by European modernism to depict rural India.
Her paintings showed tangible proximity of the figures in her paintings and extensive use of dark tones for the background. When Amrita Shergill returned to India in , she went on a never-ending journey to study and learn the traditions of Indian Art. She got majorly influenced by the Mughal art works and the Ajanta paintings. Apart from the Ajanta style, Amrita was also fascinated by the Paharari, Mughal and Rajasthani styles.
The miniature Mughal, Pahari and Rajasthani paintings of the medieval era were an artistic revelation for Amrita Shergill. In the Village Scene you can see her fascination of Pahari miniatures.
In the painting, she portrays a group of village women who are engaged in daily chores such as, chatting with each other and nurturing their children. At one corner there is a basket of red chillis and a red sari on the other end. The painting shows a mix of both foreign and Indian artistic traditions. She always portrayed women in her paintings as individuals in their own right, vulnerable but at the same time strong and dignified.
She loved painting women of rural India and their activities. Often in her paintings, you can find the confined lives of rural Indian women with jaded eyes and gloomy faces. The color scheme she uses in her paintings is vibrant, vivid, intense and glowing. In many of her paintings, one thing was prominent - an exception use of whites. According to her, the use of white would effectively liven up a painting and would illuminate the entire canvas.
The use of whites in her compositions just adds a lot of drama. In three Girls, Hill Men and Hill Women, the depiction seems almost impersonal because she does not approach her subject in a narrative manner that would focus on a particular event, but she rather brings a scene come to life.
The figures portrayed in her paintings, were slightly superimposed and are posed statically and silently, almost icon-like. The figures in her paintings render a meaningful moment. The last letters by both the characters ended the play on a great high. Farooq Sheikh was really good especially his Hindustani diction, with the flavour of his typical Urdu accent. Although, it is tough to compare between actors of such stature, but Shabana Azmi stole the show for me.
It must have been because her character gave her a lot of variety but her smile and the depiction of the wild streak in the painter, Amrita Nigam came out amazingly well through her portrayal. It teaches you the power of a script. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.
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