Al\1RI T A

SH E R - GIL
ART LIFE
 OXFORD
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Contents

List of Photographs
ix
Introduction by Yashodhara Dalmia
xiii
Plate section (between pp. 154 and 1SSJ

PROCESSES OF ART
I. Evolution of My Art
3
Amrita Sher-Gil
2. Notes towards a Biography of Amrita Sher-Gil 9
Charles Fabri
3. Amrita Sher-Gil: An Artistic Evaluation 21
Karl Khandalavala
4. Amrita Sher-Gil: A Genuine Artist- 29
Striving for Excellence
Esther Rahim
5. Amrita Sher-Gil and the East-West Dilemma 35
K.G. Subramanyan
6. The Doomed Romantic 47
Nissim Ezekiel
7. Transformation of the Pre-modern to the Modern in 53
Early Twentieth-century Indian Art
Yashodhara Dalmia
8. Amrita Sher-Gil: The Indian Painter and 65
Her French and Hungarian Connections
Katalin Keseru
9. A Painter of Concern: Critical Writings on 127
Amrita Sher-Gil
G.H.R. Tillotson
vii, 10. Amrita Sher-GiJ: Painter Pa
r Excellenc e-
l43
The Unfolding of Art
l1
C N. Iqbal Singh
.,,II
C
0
u
MYTHIC ENCOUNTERS
Vision
l l. Charles Fabri : An Iconoclastic 153
Yashodhara Dalmia
em India
12. Indian Flamingo: A Novel of Mod 163
Charles Fabri

Acknowledgements 327
Bibliography 331
Index 337
About the Editor and Contributors 345
Intro duc tion

An iconic status has been attrib uted to Amri ta Sher-Gil after she
passed away in late 1941 , but few acknowledged her work when
she was auve. Desp ite her brief existe nce, for she died at the age
of 28, she was to becom e a house hold name later and has proved
to be a source of inspiration for generations of artists. Between
these polarities, the mapp ing of the journ ey of one of the most
enterprising and innovative artists of our times provides vivid
glimpses of an individual 's struggle for expression.
In this volume of essays, art historians and scholars examine
the diverse aspects of Amri ta Sher-Gil's art, its relevance for
the present, as well as the conflicting theories which exist about
her achievements.

Self-portrait, 1930s,
Amrita Sher-G il,
courtesy: Maseeh Rahman.
 fr om an ea rl y ag e whi ch made her
ing
Amrita began sketch
x-iv taj_
rs to tr ai n he r. O bs erving her nascent
tuto
parents employ art te r based in Shimla ca
lled 1-faJ
a so ci et y pa in
en t, one o f them, re nt s th at she be sent to the
ested to he r pa
Bevan Petman, sugg to Pa ris to develop he r artis
ti c
don an d th en
Slade School in Lon cl e, th e artist an d scholar
Ervin
si t o f he r un
talents. It was the vi r he en co ur ag ed he r to rnake
ed decisive , fo
Baktay, which prov an d pa in t th e life around her.
r expe ri en ce
impressions from he ho ol an d ta ug ht by th e fa
rned
ag yb an ya Sc
Belonging to th e N he r to pl ei n-air painting and
tay introd uc ed
Simon Hol16sy, Bak e re al it y ar ound her. T he group
rvatio ns o f th
to make careful obse 16 sy revolted against th e
dreary
un ic h by H o1
first established in M d ai m ed at pr esenting inunedi.
e Academ y an
backwardness o f th es er vi ng th e ph en om en on of
ithfully an d pr
ate natural sight fa ic vi ew ing in 1897 an d arou
sed
thei r fi rs t pu bl
sunshine. They had no t un li ke th e reception which
th e audi en ce
a violent resistance in in Pa ris . C onsequentlY, A m nt
a
pressi on is ts
initially m et th e Im se rv an ts an d th e po or folk an
d
ession s o f h er
began making impr th ei r essential at tr ib ut es
even
th es e do w n to
succeeded in paring ge d he r pa re nt s to send he r to
Baktay al so ur
at this early stage. ld , w he re sh e could develo
p
ca o f th e ar t w or
Paris, then th e Mec , ac co m panied by h er family
in
e le ft fo r Pa ris
he r talents. When sh tr ai ni ng th er e along w it
h her
ly 16 , an d he r
1929, Amrita was on r th e dr am at ic success
o f her
to eq ui p he r fo
inherent skills was
achievements later. 's Pa ris years, an d th e art
tten ab ou t A m ri ta
Much has been wri ii 's ri go ro us delineation of
to r Katalin K es er
historian and cu ra h er w or k bo re to th e art of
th e rela ti on sh ip
these times points to nu de fo r instance, such as
's overview o f th e
the period. Amrita to ex am in e th e ro le o f women
, allowed h er
The Professi,onal Model as as ye t an un di scov er ed sub-
ations an d it w
in strange social situ po rt an t essay in ar t
whereby
ri ta he r fi rs t im
ject. It was for A m r m ea ni ng o f th e su bj
ec t as
e es se nt ia l in ne
she could reveal th on o f M y A rt '. Kes erii
points
r ar tic le 'E vo lu ti
she mentions in he e n u d e b ec am e ti
re d and
tive el em en ts o f th
out, J\s th e attrac ow ed a fe m al e pe rs on al
ity
empty, A m ri ta sh
wom~out, th e fa_ce w hi ch h ad only rarely be
en
role, so m et hi ng
st ep pi ng o u t o f its o f su bj ec ts w as an aspe
ct
ly., i T h e ov er vi ew
re pr es en te d previous
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Plaque outside the house where Amrita was born in Budapest,

courtesy: Maseeh Rahman.

The patriarch Adolphe

Gottesmann, the great grandfather
of Amrita Sher-Gil,
courtesy: Maseeh Rahman.
xv i . . e, for instan
of he r ar t which came m to its own in India when sh
did y where the in.tense suff0 ca-
ce,
lik e W om an on Ch ar po
C
. a Work
t1on of th e woman, dressed in red , is brilliantly delmeated . lt •vas
0 ...
t:::,
-0 . 1 thi s objectivity which led her to capture her ow
-e
C
precise Y
character as a pe rso n fro m a di sta nt world, albeit a world shn
es a:
gi nn in g to kn ow by loo king at the Indian sculptur
Was be e
G ui m et an d th e wo rk s of Gauguin. When she tn ad
th e Musee pe st she_ had carefully
rin g he r vis it to Bu da
th e Gypsy Girl du e
t th e de tai ls of a da rk -sk inned young girl and the lif
worked ou wa s he r yearning to sow
ag in ed sh e ha d led . It
of abandon she im a
he r ow n co un try , to co nfigure th e subjectivity of
he r roots in ste rn form, and also an
na , ot he r th an th e we
dark-skinned perso iv-
br in g ou t th e lif e of th e po or which became th e dr
at te m pt to logist
pu lse fo r he r to re tu rn to India in late 1934. Th e Indo
ing im n
ria n Ch ar les Fa br i po in ts out, however, th at Gaugui
an d ar t histo work for unlike him,
rin gb oa rd fo r Am rit a's
could only be a sp
ou tsi de r to In di a no r di d she find it an idyllic and
sh e was no t an at she
ca l wo rld as he di d in Ta hiti. Indeed he contends th
paradi sia
di a of he r da ys wh ic h ha d m an y unhappy, poor
saw th e true In es ~
an d ev en sta rv in g pe op le. D es pi te th e differenc
dejected, of th e formal elements
in ts to th e sim ila rit ies
th ei r attitude, he po
in th ei r work. en t
m sp en di ng he r ch ild ho od years in Hungary, sh e w
A pa rt fro m India
er e wh ile sh e liv ed in Paris, an d again la te r fro
back th V ic to r Egan. Keserii's
m ar ry he r fir st co us in
when sh e decided to
ar s fil ls th e la cu na e in th e Sher-Gil projects
ac co un t of these ye
ar ia n in flu en ce is of te n un de rra te d. It does seem I
where th e Hung
il do es no t m en tio n it, th at sh e was in flu en ce d by
though Sher -G
gy ba ny a ar tis t Is tv an Sz 6nyi in th e de lin ea tio n of
th e famed Na o
fo rm . Th e m as te rly pa in tin g Two Girls was als
th e orientalist ts
ga ry af te r he r m ar ria ge . A m on g th e m an y ac co un
pa in te d in H un
is w or k fo r its un di sp ut ed pa in te rly qualities,
w rit te n ab ou t th
s th e m os t in cis iv e. Sh e po in ts ou t th at it is th e
Keserii's is pe rh ap
ur es of th e tw o gi rls w hi ch pr ov id e th e key
shapes ar ou nd th e fig h th e
g. Th e hu m pe d w hi te of th e ch ai r ag ai ns t w h ic
to th e pain tin de r-
gir l le an s se em s to ha ve a se cr et sc ul pt ure un
dark-skinned
it to th e w hi te of th e ta bl e in th e pa in tin g In the
neath. Sh e links
Garden and yet again to hospital beds and to shrouds. A ccording
to Keserii,

The living, lonely white table has been put outside ... and could
be the painter's symbolic self-presentation. There is only a bare,
thin, warped tree in the foreground; the background is succinctly
closed off by leafy trees and by the little house. It is enticing and
suffocating, familiar and mysterious; the place is strange, like the
gingerbread house in the fairy tale. If we consider the garden as
an interior, we look on this nevertheless, as a picture of an inner
world and we are confronte d with longing, loneliness, fear, hope and
pain-<lefencelessness. 2

Could it be that Arnrita, in this magical, primitivist painting,

was prophesying intuitively a possible catastrophe, a disastrous
end that awaited her? Perhaps the magnetic quality of the work
is its sheer simplicity and, at the same time, its complex layering
of meaning.
To comprehend Arnrita's journey we need to tum to her
own account. As she stated, 'I am an individualist, evolving a
new technique, which, though not necessarily Indian in the tra-
ditional sense of the word, will yet be fundamentally Indian in
spirit. With the eternal significance of form and colour I interpret
India and, principally, the life of the Indian poor on the plane
that transcends the plane of mere sentimental interest.' 3 And
this evolving technique, which defied boundaries, would mark
Amrita's oeuvre where her multilayered interpretations would
encapsulate, on the one hand, a move towards modernity and,
on the other, the life of the marginalized. Despite this, as her
close friend and art historian Karl Khandalavala aptly pointed
out, her ultimate aim was the highest possible organization of
form and colour which she felt must remain entirely aloof from
the emotional contents of her being. The scholar and art histo-
rian G.H.R. Tillotson , corroborating this, points to the influence
of the Bloomsbury School of aesthetics and also explores the
gradual move towards formalism. He queries whether this does,
in the end, leave behind her own declared aim, albeit shorn of
xviii se.ntimentalisn1, of depicting the lives of the poor? Accordin
to him g
C 1
0
d
i3::, Today, Sher-Gil's reputation stands high; her spirit ao achievement
""O
....,e are widely revered, and are often cited as an inspiration to
C India's many later women painters particularly. But the sneaking
th
reservation remains: there is a coJlllllon perception that e very
beauty and technical accomplishment of her work diminished
its social commitment. And it did so in an era of immense
4
political significance.
An artistic perspective on .Arnrita's work is provided by the
veteran artist K.G. Subramanyan who ponders over the unequal
quality of her work in India and the 'not too felicitous spatial
organization'. Her biggest problem, according to him, is that
although she wanted to make aesthetically complete pictorial
statements involved and removed at the same time, her academic
training didI not make it easy. The visual evidence she needed still
inspired her and she was far too emotionally involved with the
real world. The paintings of Ajanta caves held for her the per-
fect counterpoise between a succinct humanism and a pictorial
independence which were qualities she was seeking in her own
paintings. And he concedes that she came closer to the appre-
ciation of the special character of Ajanta paintings than most
and certainly she was able to sense its sensuous humanism rathe;
than many for whom the individual poses and mudras were more
important. For the Pakistani artist Esther Rahim the influence of
other artists was only partial and that it is her own vision which
was finally articulated in her painting. As she points out 'Am ·
Sher-Gil has often been accused of imitating the artists O'f A nta
d G · Th th Janta
:'" augum. at ey influenced her work is true, but this
in .no hway detracted from the quality of her work·, every great
~ : as: some period or other of his career been influenced
y sali~re ecessors.'5 The multilayering of women's lives th .
sensu
the famil
.
ty and their frustrations, .
particularly
, err
during her stay at

modemistpro'ect
~ w
hi:
essay, hig~:::~ Saraya elucidated in Yashodhara Dalmia's
em~athy she had for their plight. The
provided the underlying impetus for her
 work was to incorporate these elements as an essential aspect of
its vocabulary.
The poet and critic Nissim Ezekiel disputes the fact that
Amrita's work was uneven with only a few good paintings.
According to him, 'Amrita's perceptions are far from common-
place. It is only their realization in painterly terms that is often
less than satisfactory. They are rarely so devoid of interest that
they deserve dismissal or condemnation.' And this in fact sums
up her work for she had created some great masterpieces but
even her minor works were of interest for ' .. . she was too genuine
a person, too talented, too serious, too self-critical for grave lapses
6
of that kind.' The period to which she belonged-the country's
struggle for Independence, the status of women who had begun
to step out of their homes, and the rising tide of cultural articula-
tion-formed the matrix for her growth and expansion. But the
definitive touch was lent to this by Amrita's own skills and intui-
tive intelligence which made her into an artist of special impor-
tance. A touching tribute to her qualities as an individual and
an artist is paid by the writer N. Iqbal Singh who was associated
with her closely in Lahore. His biographical essay is an authentic
account of the difficulties she faced in her life and her struggle
to overcome them. Perhaps he has the last word: 'As an artist,
her greatest achievement-something that will go down in the
history of Indian art-is that she liberated Indian art. True, she
founded no school, but every Indian artist who has followed in
her wake has in one way or another been influenced by her.' 7
The last section of this volume is a fictional account of the
travails of a young artist in Lahore in the 1940s striving to achieve
her end. There are many unmistakable likenesses to Amrita, to
whom the novel is dedicated by the author Charles Fabri; and
the discussions around art with the museum director could well
have taken place. Perhaps it also has some aspirational fulfilments
in the successful relationship between the art historian and the
young artist. The novel is also of interest in its reflection of the
period, the city of Lahore of the time, and the museum and art
practices followed then, which has have had repercussions in art
to this day.
 Amrita's uncle, the artist
and lndologist Ervin Baktay
who influenced her work . '
, 1n
Srinagar in 1927,
courtesy: Nina Egan.

.
/ I

'i :
); ; '

:.',k
I;;

-~~,- .,~ ~
• ,j,. .(,

Ervin Baktay's oil colour of Dunaharaszti, Hungary, wh ere Amrita spent her childhood
years, courtesy: Maseeh Rahman .
 While this volun,e is a collection of essays hy eminent art his~
. s and writers, it by no m eans aims at being conclusive. The
tonan. . .
ts point towards the varymg debates which have arisen
accou n
the artists' oeuvre and range from the earliest to contem-
aroun d
orary times. 1neir essays, it is hoped, will create an awareness
~bout Atnrita's art and life and generate further debates.
Y ASHODHARA D ALMIA

Notes and References

l . Katalin Keserii, 'Amrita Sher-Gil ( 1913-194 l): The Indian Painter
and Her French and Hungarian Connections', in the catalogue of
the show on Amrita Sher-Gil, Budapest and Paris, in 200 l and
2002, respectively, pp. 32-3 (Chapter 8).
z. Ibid., pp. 81-2.
3. Amfita Sher-Gil, 'Evolution of My Art', Usha, special issue on
Amfita Sher-Gil (August 1942), p. 101.
4. G.H.R. Tillotson, 'A Painter of Concern: Critical Writings on Amrita
Sher-Gil', India International Centre Quarterly (New Delhi: India
International Centre, January 1998), p. 68 (Chapter 9).
5. Esther Rahim, 'Amrita Sher-Gil: A Genuine Artist', Usha, special
issue (1942), p. 19 (Chapter 4).
6. Nissim Ezekiel, 'The Doomed Romantic', 'Z' magazine (April
1974), pp. 24-6 (Chapter 6).
7. N. Iqbal Singh, 'Amrita Sher-Gil: Painter Par Excellence', India
Perspectives (July 1990), p. 26 (Chapter 10).
 j\m rita Sher-Gil
~ on of My Ar t

ys
It seems to me that I never began painting, that I have alwa
, the
painted. And I have always had, with a strange certitude
else.
conviction that I was meant to be a painter and nothing
al
Although I studied, I have never been taught painting in the actu
e-up
sense of the word, because I posses_s in _my psychological mak
ys,
a peculiarity that resents any outs1d_e interference. I have alwa
in everything, wanted to find out things for myself
n
With this tendency it is rather fortunate that in 1929 whe
for
our parents decided to take my sister and myself to Paris
ch
the study of music and painting respectively, the great Fren
itted
professor Luci~n Simon took a fanc y to my work and adm
for
me to his studio at the Ecole des Beaux-Arts. Before leaving
ugh
Europe I had worked entirely from imagination, and, altho
wen t thro ugh an academic phase in the first few years of my
1 I am
stay in Paris, I had never imitated natu re servilely; and now
ving
deviating more and more from naturalism towards the evol
idual
of new, and 'significant' form s, correspondin g to my indiv
ect.
conception of the esse nce of the inner meaning of my subj
s
Lucien Simon neve r 'taught .' He made us think for ourselve
merely
and solve tech nical and pictorial problems ourselves,
him, in
encouraging each of those pupils whose wor k interested
his or her own indi vidual forms of self-expression.
got
I worked for some time at the Ecole des Beaux-Arts and
three
prizes at the annu al portrait and still life competitions for
tern
consecutive years. My wor k in those days was absolutely Wes
in conception and exec ution except for the fact that it
was never
entirely tam e or conventional.
of
I had not in those days learn t that simplicity is the essence
when
perfection. One sees with such exuberance, so uncritically,
4

Letter to Granny 1
, 92Qs
courtesy: Maseeh R ,
ahniar,

Portrait of a Lady, colour

pencils on paper, 1920s,
Amrita Sher-Gil,
courtesy: Maseeh Rahman.
 one is very young that one is liable to sacrifice the artistic whol
to unessential detail, if it happens to be pleasing to the eye. On:
lacks the faculty of discrimination , so essential to the produ ction
0 f tnie art.
Towards the end of 1933 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. We returned at the end
of I 934. My professor had often said that, judging by the rich-
ness of my colouring, I was not really in my element in the grey
studios of the West, that my artistic personality would find its
we atmosphere in the colour and light of the East. He was right,
but my impression was so different from the one I had expected,
and so profou nd that it lasts to this day.
It was the vision of a winte r in India- desola te, yet strangely
beaut iful-o f endless tracks of luminous yellow-grey land, of
dark-bodied, sad-faced, incredibly thin men and wome n who
move silently looking almost like silhouettes and over which an
indefinable melancholy reigns. It was different from the India,
volup tuous, colourful, sunny and superficial, the India so false to
the tempt ing travel posters that I had expec ted to see.
Before leaving for Europ e as a very young girl I had been so
wholly an introv ert that I had never really seen or observed any-
thing round or outsid e me. I worke d entirely from imagination in
those days, and living on pictur es instea d of reality I conceived
India throug h the mediu m of those unutte rably medio cre speci-
mens of fifth rate Weste rn art that still aboun d in the local exhibi-
tions, provid ing doubt ful if not harmf ul alime nt to the artistically
under -fed and undeveloped mind. And I 'regre t' to say that, not
satisfie d with the produ ction ad infinitum of this type of painti ng
by the Europ eans here, it is perpe tuated, in blissful ignorance as
to its artistic demer its, by a numb er of Indian artists ~I say 'regre t',
becau se the painti ngs can no more be accuse d of being true inter-
pretat ions of India that they can be accuse d of being works of
art! When pursu ed as a form of recrea tion by amiab le foreign
am ateurs of both sexes, or tourists who wish to conse rve, in the
form of oils or water-colou rs that h ave no pretensions whatsoever
of art, souve nirs of their variou s travels, it is pardo nable; but when
the essence of m ediocrity is adopt ed t o found a schoo l of art to
0

.'.S
C
E
<

Open Air Painters 1

courtesy: NGMA. ' 933,

give impetus to a new Indian artistic movement, then it is to be

deplored in the extreme. I call this tourist painting, because .
has all the characteristics of the tourist mind, being absolutet
superficial, both pictorially and psychologically, impressions :r
impressions, where there is no room for artistic conception, pen-
etration or insight.
Those so-called paintings that depict an India where the sun
shines with an inevitability only equalled by the mediocrity of
the conception and execution of that sunlight as it plays on flesh
tints of standardised grey browns and gives opportunity to the
ambitious artists to exploit the possibilities of orange reflected
lights and blue 'half lights' (cheap tricks of the trade that have
to be learnt but must be forgotten before one can even think of
producing true works of art) . Those serene or sun flooded land-
scapes, consciously naturalistic, with authentically Indian ruins
 t '
'
.
:'

,
Port.rail of a Young Man , 1930
Amrita Sher-Gil, r I
courtesy: NGMA.

, courtesy : Nina Ega n.

Amrita with her paintings, 1940
8 tr ad e marks con I . .
~
in th e 'm id dl e di st an ce ' se rv e as
f th e article , (rnc Us1ve, trrefti I
abl e proo1s as to th e genuinenes
£ s o
on e br us h st ro ke of w hi ch conve;;~factlJ.red ,'-
India) , bu t no t he re nd1q reau1~
y m ou nt ai n ra ng es ( w
T ho se futile views of sn ow s) ha v:
1tra.triati/
s re pr es en ts sh ad ow
~l ue laid on in ne at washe m ig ht ot h
succeed ~
en jo ym en t th at
m destroying an y aesthetic a1 . f rn ou nter
a.wise hav~d
den.vecl even from th e ac tu view o sn ow y
ar s, of th e m is er ab le , th e Pro fln ranges~
T ho se po rt ra its of begg hi 1 . ut
o of Ifldia .
a
gr ap ca in te re st w it ho
vi.ew ed as objects of to po di n ato tn of'
d er st an ng .
e1'ther artistic or hu m an un
re ac tio n to bo th th e pi ct or ia l an d psy h ·
M y violen t
. • d m y ow n m od e of c ol. ogical
f pa in tin g an
conventions of this ty pe o
ill be un de rs to od , to so m e ex te nt , w he n _Pictorial
expression w
pr es si on of In di a, as op po se d to thVte~ed in
th e hg ht of m y first im ep 1qllres
I ha d men ta lly
I am an indivi
m ad
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t .0 tigh
e tr ad iti on al se ns e
no t necessarily Indian in th
di an in sp iri t. W it h th e et er na l sig '.;ilJ Yet
be fundamentally In pr in ci pa lh, thni ~ance
rp re t In di a an d,
of form and co lo ur I in te e pl JJ
an
ef1tfe 0f
an e th at tr an sc en ds th e o rnere
th e Indian po or on th e pl
sentimental interest.