Amrita Sher-Gil (Princess Amrita Shergill) was born on 30 January 1913 in Budapest, Hungary, to Raja Umrao Singh Sher-Gill of Majithia, and Granddaughter of Raja Surat Singh Of Majithia , a SherGill Jat aristocrat and a scholar in Sanskrit and Persian, and Marie Antoinette Gottesmann, a Hungarian-Jewish opera singer who came from an affluent bourgeois family. Her parents first met in 1912, while Marie Antoinette was visiting Lahore. Her mother came to India as a companion of Princess Bamba Sutherland, the granddaughter of Maharaja Ranjit Singh. Sher-Gill was the elder of two daughters; her younger sister was Indira Sundaram (née Sher-Gil; born in March 1914), mother of the contemporary artist Vivan Sundaram. She spent most of her early childhood in Budapest. She was the niece of Indologist Ervin Baktay. Baktay noticed Sher-Gill’s artistic talents during his visit to Shimla in 1926 and was an advocate of Sher-Gil pursuing art. He guided her by critiquing her work and gave her an academic foundation to grow on. When she was a young girl she would paint the servants in her house, and get them to model for her.The memories of these models would eventually lead to her return to India.

Her family faced financial problems in Hungary. In 1921, her family moved to Summer Hill, Shimla, India, and Sher-Gill soon began learning piano and violin. By age nine she, along with her younger sister Indira, was giving concerts and acting in plays at Shimla’s Gaiety Theatre at Mall Road, Shimla Though she had already been painting since the age of five, she started learning painting formally at age eight. Sher-Gil started getting formal lessons in art from Major Whitmarsh, who was later replaced by Beven Pateman. In Shimla, Sher-Gill lived a relatively privileged lifestyle.As a child, she was expelled from her convent school for declaring herself an atheist.

In 1923, Marie came to know an Italian sculptor, who was living in Shimla at the time. In 1924, when he returned to Italy, she too moved there, along with Amrita, and got her enrolled at Santa Annunziata, an art school in Florence. Though Amrita didn’t stay at this school for long and returned to India in 1924, it was here that she was exposed to works of Italian masters.

At sixteen, Sher-Gill sailed to Europe with her mother to train as a painter in Paris, first at the Académie de la Grande Chaumière under Pierre Vaillent and Lucien Simon (where she met Boris Taslitzky) and later at the École des Beaux-Arts (1930–34)She drew inspiration from European painters such as Paul Cézanne and Paul Gauguin,while working under the influence of her teacher Lucien Simon and through the company of artist friends and lovers like Tazlitsky. While in Paris, she is said to have painted with a conviction and maturity rarely seen in a 16-year old.

1932–1936 : Early career, European and Western styles :-
Sher-Gill’s early paintings display a significant influence of the Western modes of painting, more specifically, the post-impressionism style. She practiced a lot in the Bohemian circles of Paris in the early 1930s. Her 1932 oil painting, Young Girls, came as a breakthrough for her; the work won her accolades, including a gold medal and election as an Associate of the Grand Salon in Paris in 1933. She was the youngest ever member, and the only Asian to have received this recognition.Her work during this time include a number of self-portraits, as well as life in Paris, nude studies, still life studies, and portraits of friends and fellow students. The National Gallery of Modern Art in New Delhi describes her self-portraits she made while in Paris as “[capturing] the artist in her many moods – somber, pensive, and joyous – while revealing a narcissistic streak in her personality.

When she was in Paris, one of her professors often said that judging by the richness of her colouring Sher-Gil was not in her element in the west, and that her artistic personality would find its true atmosphere in the east. In 1933, Sher-Gil “began to be haunted by an intense longing to return to India feeling in some strange way that there lay her destiny as a painter.” Sher-Gill returned to India at the end of 1934. In May 1935, Sher-Gil met the English journalist Malcolm Muggeridge, then working as assistant editor and leader writer for The Calcutta Statesman. Both Muggeridge and Sher-Gil stayed at the family home at Summer Hill, Shimla and a short intense affair took place during which she painted a casual portrait of her new lover, the painting now with the National Gallery of Modern Art in New Delhi. By September 1935 Amrita saw Muggeridge off as he traveled back to England for new employment.She left herself for travel in 1936 at the behest of an art collector and critic, Karl Khandalavala, who encouraged her to pursue her passion for discovering her Indian roots.In India, she began a quest for the rediscovery of the traditions of Indian art which was to continue till her death. She was greatly impressed and influenced by the Mughal and Pahari schools of painting and the cave paintings at Ajanta.

1937 to 1941 : Later career, influence of Indian art :-
Later in 1937, she toured South India and produced her South Indian trilogy of paintings Bride’s Toilet, Brahmacharis, and South Indian Villagers Going to Market following her visit to the Ajanta Caves, when she made a conscious attempt to return to classical Indian art. These paintings reveal her passionate sense of color and an equally passionate empathy for her Indian subjects, who are often depicted in their poverty and despair. By now the transformation in her work was complete and she had found her ‘artistic mission’ which was, according to her, to express the life of Indian people through her canvas. While in Saraya Sher-Gil wrote to a friend thus: “I can only paint in India. Europe belongs to Picasso, Matisse, Braque…. India belongs only to me”. Her stay in India marks the beginning of a new phase in her artistic development, one that was distinct from the European phase of the interwar years when her work showed an engagement with the works of Hungarian painters, especially the Nagybanya school of painting.

Sher-Gil married her Hungarian first cousin, Dr. Viktor Egan when she was 25.Egan had helped Sher-Gil obtain abortions on at least two occasions prior to their marriage. She moved with him to India to stay at her paternal family’s home in Saraya, Sardar nagar, Chauri Chaura in Gorakhpur, Uttar Pradesh. Thus began her second phase of painting which equals in its impact on Indian art with the likes of Rabindranath Tagore and Jamini Roy of the Bengal school of art. The ‘Calcutta Group’ of artists, which transformed the Indian art scene, was to start only in 1943, and the ‘Progressive Artist’s Group’, with Francis Newton Souza, Ara, Bakre, Gade, M. F. Husain and S. H. Raza among its founders, lay further ahead in 1948. Sher-Gill’s art was strongly influenced by the paintings of the two Tagores, Rabindranath and Abanindranath who were the pioneers of the Bengal School of painting. Her portraits of women resemble works by Rabindranath while the use of ‘chiaroscuro’ and bright colors reflect the influence of Abanindranath.

It was during her stay at Saraya that Sher-Gil painted the Village Scene, In the Ladies’ Enclosure, and Siesta, all of which portray the leisurely rhythms of life in rural India. Siesta and In the Ladies’ Enclosure reflect her experimentation with the miniature school of painting while Village Scene reflects influences of the Pahari school of painting. Although acclaimed by art critics Karl Khandalavala in Bombay and Charles Fabri in Lahore as the greatest painter of the century, Sher-Gil’s paintings found few buyers. She travelled across India with her paintings but the Nawab Salar Jung of Hyderabad returned them and the Maharaja of Mysore chose Ravi Varma’s paintings over hers.

Although from a family that was closely tied to the British Raj, Sher-Gil herself was a Congress sympathiser. She was attracted to the poor, distressed and the deprived and her paintings of Indian villagers and women are a meditative reflection of their condition. She was also attracted by Gandhi’s philosophy and lifestyle. Nehru was charmed by her beauty and talent and when he went to Gorakhpur in October 1940, he visited her at Saraya. Her paintings were at one stage even considered for use in the Congress propaganda for village reconstruction. However, despite being friends with Nehru, Sher-Gil never drew his portrait, supposedly because the artist thought he was “too good looking.”Nehru attended her exhibition held in New Delhi in February 1937.[33] Sher-Gil exchanged letters with Nehru for a time, but those letters were burned by her parents when she was away getting married in Budapest.

In September 1941, Egan and Sher-Gil moved to Lahore, then in undivided India and a major cultural and artistic centre. She lived and painted at 23 Ganga Ram Mansions, The Mall, Lahore where her studio was on the top floor of the townhouse she inhabited. Sher-Gil was known for her many affairs with both men and women,and she also painted many of the latter. Her work Two Women is thought to be a painting of herself and her lover Marie Louise. Some of her later works include Tahitian (1937), Red Brick House (1938), Hill Scene (1938), and The Bride (1940) among others. Her last work was left unfinished just prior to her death in December 1941.

In 1941, at age 28, just days before the opening of her first major solo show in Lahore, Sher-Gill became seriously ill and slipped into a coma. She later died around midnight on 5 December 1941,leaving behind a large volume of work. The reason for her death has never been ascertained. A failed abortion and subsequent peritonitis have been suggested as possible causes for her death.Her mother accused her doctor husband Egan of having murdered her. The day after her death, Britain declared war on Hungary and Egan was interned as an enemy alien. Sher-Gil was cremated on 7 December 1941 in Lahore.

Sher-Gil’s art has influenced generations of Indian artists from Sayed Haider Raza to Arpita Singh and her depiction of the plight of women has made her art a beacon for women at large both in India and abroad.[39] The Government of India has declared her works as National Art Treasures, and most of them are housed in the National Gallery of Modern Art in New Delhi. Some of her paintings also hang at the Lahore Museum. A postage stamp depicting her painting ‘Hill Women’ was released in 1978 by India Post, and the Amrita Shergil Marg is a road in Lutyens’ Delhi named after her. Sher-Gil was able to prove to western societies that Indians were able to make fine art. Her work is deemed to be so important to Indian culture that when it is sold in India, the Indian government has stipulated that the art must stay in the country – fewer than ten of her works have been sold globally.In 2006, her painting Village Scene sold for ₹6.9 crores at an auction in New Delhi which was at the time the highest amount ever paid for a painting in India.

The Indian cultural center in Budapest is named the Amrita Sher-Gil Cultural Center. Contemporary artists in India have recreated and reinterpreted her works.

Amrita Sher-Gil (1969) is a documentary film about the artist, directed by Bhagwan Das Garga and produced by the Government of India’s Films Division. It won the National Film Award for Best Non-Feature Film.

Besides remaining an inspiration to many a contemporary Indian artists, in 1993, she also became the inspiration behind the Urdu play Tumhari Amrita.

UNESCO announced 2013, the 100th anniversary of Sher-Gil’s birth, to be the international year of Amrita Sher-Gil.

Sher-Gil’s work is a key theme in the contemporary Indian novel Faking It by Amrita Chowdhury.

Aurora Zogoiby, a character in Salman Rushdie’s 1995 novel The Moor’s Last Sigh, was inspired by Sher-Gil.

Sher-Gil was sometimes known as India’s Frida Kahlo because of the “revolutionary” way she blended Western and traditional art forms.

On January 30, 2016, Google celebrated her 103rd birthday with a Google Doodle

In 2018, The New York Times published a belated obituary for her.

In 2018, at a Sotheby’s auction in Mumbai, Sher-Gil’s painting “The Little Girl in Blue” was auctioned for a record-breaking 18.69 crores. This painting is a portrait of Amrita’s cousin Babit, a resident of Shimla and was painted in 1934, when the subject was 8 years old.

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