Wikipedia

List of paintings by Amrita Sher-Gil

This is a list of paintings by Hungarian-born Indian artist Amrita Sher-Gil (1913–1941).[1] Over 60 of her paintings, of which most were portraits and self-portraits, were created between 1930 and 1932 in Hungary and France.[2] 19 were self-portraits painted in Europe between 1930 and 1934, and two, including one in a blue sari, were later completed in India.[3] Several of her paintings were of nudes; some of herself and others based on models of which most were female.[4]

Amrita Sher-Gil

1929-1933

edit
 
Amrita Sher-Gil (Paris) with her 1930 paintings (left to right: Boris Taslitzky, Self-Portrait with Easel, Self-Portrait 6)

In her early years, Sher-Gil was a frequent vistor to Zebegény, in Hungary.[5] There she painted a church in 1932, and would several years later paint other views of the village including Winter and the Merry Cemetery.[5] The early 1930s were also the years she worked at the École des Beaux-Arts, Paris, painted mostly family and colleagues, and won awards at the annual competitions for portrait and still life for three years in a row.[6] In the summer of 1932, she submitted six paintings to the "end of year concours", Paris, for which she received second mention in her capacity as foreigner.[7] The six included Violins, Nude Self-Portrait with Palette, and Young Girls.[7] In her words, "my work in those days was absolutely Western in conception and execution except for the fact that it was never entirely tame or conventional".[6]

1933-1934

edit

Sher-Gil later wrote that "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".[6] She subsequently painted Self-Portrait as a Tahitian in early 1934, while still in Paris.[8][a]

Late 1934-1935

edit
 
Catalogue content Cecil Hotel (September 1936)

Sher-Gil returned to India in late 1934, with 60 of her oil paintings.[9] Then, she produced View from Majithia House, The Little Girl in Blue and Three Girls.[10] In September 1935, five of her 10 submitted paintings were shown at the 63rd annual Simla Fine Arts Exhibition, opened by Viceroy Lord Willingdon.[11] Those exhibited included Portrait of Father, Mother India, then known as Beggar Woman, Woman with Sunflower, then called Indian Peasant Woman, and Young Girls, then titled Conversation.[11] The Man in White, The Woman in Blue, The Model, Portrait of Malcolm Muggeridge, and a small landscape were rejected.[11] Feeling that they did not recognise the best of her work, she declined the Raja of Faridkot's prize the judges awarded her for Young Girls.[11]

1936

edit

In March 1936, Sher-Gil won awards for two self-portraits at the fifth annual exhibition of the All-India Fine Arts Society, held at The Imperial, New Delhi.[12] Barada Ukil included 11 of Sher-Gil's works in his arts exhibition at The Cecil, Simla, held in September 1936.[13] These included Portrait of Mr. F. M. Khan, A Village Scene, Mother India, Composition, The Dreamer, and The Girl in Red.[13] In December 1936, Sher-Gil's work was displayed at the exhibition hall in the Public Gardens, Hyderabad.[14] There, the wealthy art collector, Nawab Salar Jung, showed interest in two paintings, was offered three, then declined to purchase any.[15]

1937

edit
 
1937 Catalogue contents
 
Solo exhibition, Lahore, 1937

In October 1937, Sher-Gil painted her plein-air series, which included her first paintings with animals, one of which was The Story.[16] From 21 to 27 November that year, 33 of her works were displayed at her solo exhibition at Faletti's Hotel in Lahore, British India.[17] There, she revealed her first two Indian compositions, The Story and Siesta.[18] At Lahore, four paintings were sold in total; The Little Girl in Blue, The Story, Pink Self-portrait, and the Vina Player.[19] She wrote that "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".[6]

1938-1939

edit

In 1938 five of Sher-Gil's paintings were exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi, and included Elephants Bathing in a Green Pool (1938), Composition (1936), and View from Studio (1934), which won the prize.[20] In the same year she married Viktor Egan in Hungary, and there painted Two Girls among others.[21] Returning to India in 1939, she moved to Saraya, Uttar Pradesh, and there her creations included Woman on Charpoy, Elephant Promenade, The Ancient Story Teller, and Haldi Grinders.[21][22] The dome of the family's estate features in the backgound of some of these, though she omits the Saraya Sugar Mills and its chimneys and smoke.[23]

1940s

edit

In 1940, six of Sher-Gil's works were displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22] These included Siesta, Sleep, Elephant Promenade, Elephants, The Swing, and the winning piece, The Ancient Story Teller.[22] Sher-Gil died at midnight on 5 December 1941, leaving The Last Unfinished Painting at Lahore.[21]

Legacy

edit

By 1948, the Indian government had acquired 98 of Sher-Gil's paintings.[24] Following her father's death, several paintings of hers were saved by Hungarian-Indian social worker Fori Nehru.[25] The art restorer, Rupika Chawla, found several of Sher-Gil's paintings to have been altered by Sher-Gil herself.[26] These include Siesta, Woman Holding Fan, and Hillside.[26] In 1979 her works including Camels and Ancient Story Teller, were displayed at an exhibition in New delhi, organised by the Budapest Kunsthalle.[9]

Under India's Antiquities and Art Treasures Act (1972), formed in accordance with the UNESCO 1970 Convention to regulate the internal and external dealing in antiquities in India, the Archaeological Survey of India in 1976 and 1979, named Sher-Gil's works as Indian treasure that if sold in India, cannot leave the country.[27] Of the at least 143 listed paintings created by Sher-Gil, most are held by her relatives, and 44 of the 45 paintings that belonged to Viktor Egan and some paintings that were with her father, were donated to the National Gallery of Modern Art, New Delhi.[26]

Paintings (1930)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1930:
Seated Nude in Profile 		Whereabouts unknown[1] Painted in Paris.[1]
  1930:
Young Girl in Profile 		Whereabouts unknown[1] Painted in Paris.[1]
  1930:
Male Torso 		New Delhi, National Gallery of Modern Art 62 × 94 cm
Oil on canvas[1] 		Her only male nude, originally titled Back Study[9]
  1930:
Sitting Nude 		New Delhi, National Gallery of Modern Art 66 × 91.5 cm
Oil on canvas[1] 		Painted in Paris.[1]
  1930:
Old Man with Beard 		Whereabouts unknown[28] Painted at La Baule, France[28]
  1930:
Brown Girl 		Whereabouts unknown.[1] Painted in Paris.[1]
  1930:
Self-Portrait 6 		New Delhi, National Gallery of Modern Art 58 × 79 cm
Oil on canvas[29] 		Painted in Paris.[29]
  1930:
Amrita Sher-Gil Self-Portrait 7[29] 		New Delhi, National Gallery of Modern Art 47.4 × 70.2 cm
Oil on canvas[29] 		Painted in Paris[29]

Depicts Sher-Gil with a shoulderless dress and loose hair.[30][31]

  1930:
Self-Portrait 8 		New Delhi, National Gallery of Modern Art 53 × 82.5 cm
Oil on canvas[29] 		Painted in Paris.[29]
  1930:
Self-Portrait 9 		New Delhi, National Gallery of Modern Art 49 × 65.5 cm
Oil on canvas[29] 		Painted in Paris.[29]
  1930:
Portrait of Mother 		Private collection.[32] 49 × 65 cm
Oil on canvas[29] 		Completed in Paris.[32]
  1930:
Portrait of My Sister 		Private collection[29] 55.8 × 78.7 cm
Oil on canvas[29] 		Painted in Paris.[32]
  1930:
Self-Portrait with Easel 		Private Collection[32] 82.5× 90.5 cm
Oil on canvas[32] 		Painted in Paris, it depicts a three-quarter Sher-Gil draped in red, in front of an easel.[8]
  1930:
Self-Portrait with Red Background 		Private collection[29] 57 × 90 cm
Oil on canvas[29] 		Painted in Paris.[33]
  1930:
Portrait[9] 		New Delhi, National Gallery of Modern Art 61.5 × 74.3 cm
Oil on canvas[34] 		One of the earliest portraits Sher-Gil completed of Boris Taslitzky in Paris.[35][9]

It won a prize in 1931, at the École des Beaux-Arts, Paris.[9]

Also known as Portrait of a Young Man.[34]

  1930:
Boris Taslitzky 		One of several portraits Sher-Gil completed of Boris Taslitzky in Paris.
  1930:
Madam Taslitsky 		New Delhi, National Gallery of Modern Art 54 × 79 cm
Oil on canvas[34] 		Portrait of Boris's mother, painted in Paris.[35]

Mme Taslitsky later died in a concentration camp.[35]

Paintings (1931)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
1931:
Self-Portrait 1 		New Delhi, National Gallery of Modern Art[32] 48 × 58.5 cm
Oil on canvas[32] 		Painted in Paris.[32]
  1931:
Self-Portrait 2 		New Delhi, National Gallery of Modern Art[32] 44.5 × 59.5 cm
Oil on canvas[32] 		Painted in Paris.[32]
1931:
Self-Portrait 3 		New Delhi, National Gallery of Modern Art[32] 47.6 × 62.3 cm
Oil on canvas[32] 		Painted in Paris.[32]
  1931:
Self-Portrait 4 		New Delhi, National Gallery of Modern Art[32] 48 × 63.5 cm
Oil on canvas[32] 		Painted in Paris.[32]
1931:
Self-Portrait with Red Flower 		Evelyn Taslitzky's collection, Paris.[29] 42 × 56 cm
Oil on canvas[29] 		Painted in Paris.[29]
1931:
Woman's Back 		Exhibited at the Salon of the Société Nationale des Beaux-Arts, Paris, 1932.[9]

Later known as Torso.[9]

  1931:
Yusuf Ali Khan 		New Delhi, National Gallery of Modern Art 45 × 53 cm
Oil on canvas[34] 		At the encouragement of her mother, Sher-Gil was briefly engaged to aristocrat Yusuf Ali Khan, and painted his portrait in Paris.[36]
  1931:
Amrita Sher-Gil Self-Portrait 		Private collection. 65.1 × 54 cm
Oil on canvas 		Completed in Paris. In 2015 it was sold for £1.7 million at auction in London.[37][b]
  1931:
Victor Egan 		Painted in Hungary.[38]

Egan refers to this portrait as "a stupid picture of me".[38]

1931:
Alfred Cortot 		New Delhi, National Gallery of Modern Art 44 × 30 cm
Pastel on paper 		Depicts Alfred Cortot[39]
1931:
Portrait of a Young Woman 		New Delhi, National Gallery of Modern Art 32 × 42.5 cm
Oil on canvas[40] 		Painted in Paris.[40]
1931:
Violins 		New Delhi, National Gallery of Modern Art 59 × 82 cm
Oil on canvas[40] 		Painted in Paris.[40]

One of six paintings submitted to the "end of year concours" in summer 1932.[7]

1931:
Woman in Blue Coat 		Private collection[32] 48 × 66 cm
Oil on canvas[32] 		Painted in Paris.[32]
  1931:
Girl in Mauve 		New Delhi, National Gallery of Modern Art[32] 36 × 53.7 cm
Oil on canvas[32] 		Painted in Paris.[32]

Also known as Girl in Mauve 2.[32][41]

  1931:
Village Scene in Hungary 		Private collection.[28] 42 × 63 cm
Oil on canvas[28] 		Painted in Hungary.[28]
1931:
Dressing Table 		New Delhi, National Gallery of Modern Art[40] 75.5 × 62 cm
Oil on canvas[40] 		Painted in Paris.[40]

Paintings (1932)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  Portait of a Parisian Lady
  1932:
Torso 		New Delhi, National Gallery of Modern Art 62 × 83 cm
Oil on canvas 		Painted in Paris.[42]
  1932:
Self-Portrait 5 		New Delhi, National Gallery of Modern Art[32] 43 × 54.5 cm
Oil on canvas[32] 		Painted in Paris.[32]
  1932:
Adam and Eve 		New Delhi, National Gallery of Modern Art 38.7 × 52.1 cm
Oil on canvas[28]
1932:
Still Life with Green Bottles and Apples 		Private collection[40] 37 × 54.5 cm
Oil on canvas[40] 		Painted in Paris.[40]
  1932:
Nude Self-Portrait with Palette 		Whereabouts unknown[7] Possibly "my nude" that Sher-Gil submitted to the "end of year concours" in summer 1932.[7]
  1932:
Self-Portrait in Green Dress 		Private collection[29] 51 × 60.5 cm
Oil on canvas[29] 		Completed in Paris.[43]
  1932:
Self-Portrait in Green 		Private collection[32] 64.8 × 90 cm
Oil on canvas[32] 		Completed in Paris around June 1932, and described by Sher-Gil as "a very good self-portrait".[4]
  1932:
Department Store 		New Delhi, National Gallery of Modern Art 49.5 × 62 cm
Oil on canvas[28] 		Likely the store called Printemps that she took a sketch of in June 1932.[44]
1932:
The Blue Danube 		Whereabouts unknown[28] Painted in Hungary.[28]
  1932:
Hungarian Gypsy Girl 		New Delhi, National Gallery of Modern Art 81.3 × 52.7 cm
Oil on canvas[28] 		One of two paintings of the same girl who posed for Sher-Gil in old clothes, completed in the summer of 1932 in Zebegény.[7]

Ella Szepessy, Sher-Gil's maternal aunt, lived in a villa on the Zebegény hillside.[9]

1932:
Gypsy Girl from Zebegény 		Private collection[34] 41 × 62 cm
Oil on canvas[34] 		One of two paintings of the same girl who posed for Sher-Gil in old clothes, completed in the summer of 1932 in Zebegény.[7]

In green and red, it depicts a gypsy girl holding a basket of fruit.[9]

1932:
Girls in conversation 		Private collection[34] 82 × 53 cm
Oil on canvas[34] 		On 2 August 1932, after completing the Gypsy Girls, Sher-Gil began a large painting of two poor girls in Zebegény.[7]
1932:
Two Children on a Hillside 		Sher-Gil wrote to her parents in the summer of 1934 requesting they sell "the two little girls I painted in Zebegény, which I hate".[45]

A smaller version: In January 1937, she mentions selling a "picture of the two children on a hillside I had painted in Zebegény", at the Hyderabad exhibition for ₹250 in December 1936.[46] She called it the "small rotten painting", mostly kept rolled up.[46]

  1932:
Klarra Szepessy 		New Delhi, National Gallery of Modern Art 53.5 × 99.5 cm
Oil on canvas[34] 		Portrait of Sher-Gil's mother's younger sister.[47]
  1932:
Hungarian Village Church 		Private collection.[28] 54.5 × 81.2 cm
Oil on canvas[28] 		Painted in Zebegény, Hungary.[5]
  1932:
Denise Prouteaux 		New Delhi, National Gallery of Modern Art[34] 57 × 81 cm
Oil on canvas[34] 		Painted in Paris.[34]
1932:
Portrait of Denise Prouteaux 		Private collection [48]
  1932:
Young Man with Apples 		New Delhi, National Gallery of Modern Art 71 × 97 cm
Oil on canvas[34] 		One of several portraits Sher-Gil completed of Boris Taslitzky,[35] this was exhibited at the XII Salon des Tuileries in 1934.[49][50]

Number 25 of 33 of Sher-Gil's works displayed at her solo exhibition at Faletti's Hotel in Lahore, British India, held from 21 to 27 November 1937.[17] There, it was priced at ₹500.[17]

  1932:
Notre Dame 		New Delhi, National Gallery of Modern Art 59.5 × 81 cm
Oil on canvas[28] 		This was being created in June 1932, in Paris.[7]
  1932:
Young Girls 		New Delhi, National Gallery of Modern Art 133 × 164 cm
Oil on canvas[28] 		Painted in June 1932.[10]

One of six paintings submitted to the "end of year concours" in summer 1932.[7]

Earned Sher-Gil the appointment of associate member of the 1933 Paris Salon.[2]

  1932:
Marie-Louise Chassanay 		New Delhi, National Gallery of Modern Art 66.5 × 94.5 cm
Oil on canvas[34] 		[51]
  1932:
Sitting Nude 		New Delhi, National Gallery of Modern Art 54 × 75 cm
Oil on canvas[40] 		[7]
1932:
Potted Plant in Blossom 		New Delhi, National Gallery of Modern Art[40] 46 × 54 cm
Oil on canvas[40] 		Painted in Paris.[40]
  1932:
My Grandmother 		New Delhi, National Gallery of Modern Art 46 × 63.5 cm
Oil on canvas 		Portrait of Antonia Grottesmann née Martonfalvy (1864–1937), painted in Hungary.[38]
  1932:
Viola Egan 		Private collection[34] Painted in Hungary[34]
  1932:
Gypsy Woman wearing Shawl 		Private collection of Istvan Szekely.[28] 33 × 42 cm
Oil on canvas 		Painted in Hungary.[28]
  Boat

Paintings (1933)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1933:
Self-Portrait with a Smile 		Private collection[29] 45.8 × 33.2 cm
Oil on canvas[52] 		Painted in Hungary.[29][c]
  1933:
Reclining Nude 		New Delhi, National Gallery of Modern Art 70.7 × 93.5 cm
Oil on canvas[54] 		Completed in Budapest, it depicts Sher-Gil's cousin Viola, sister of her husband Victor Egan.[55][56]
  1933:
Open Air Painters 		New Delhi, National Gallery of Modern Art 53 × 84 cm
Oil on canvas[54] 		Completed in Paris.[54]
  1933:
The Girl in Black 		Whereabouts unknown[54] Painted in Paris.[54]

Exhibited at the Salon of the Societe Nationale in 1934.[9]

This was cut out of a large unfinished painting depicting Sher-Gil, Indira, Denise Prouteaux, and a nude model, and gifted to Denise.[57]

According to Prouteaux, she left the painting in a warehouse in Grenoble, shortly after the German occupation of Paris.[57] When she returned after the war, it was missing.[57] It had been taken by a German officer to Germany.[57][55]

  1933:
Spanish Girl 		New Delhi, National Gallery of Modern Art 59 × 91.5 cm
Oil on canvas[54] 		Completed in Paris.[54]
  1933:
Sleep 		New Delhi, National Gallery of Modern Art 112.5 × 79.1 cm
Oil on canvas[54] 		Painted in Paris 1932–1933, it depicts Sher-Gil's sister Indira.[7][58]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,000, but did not sell.[17]

It was later left with the Indian National Congressman and her friend Diwan Chaman Lall "to see if he could palm it off on someone but he wasn't successful".[59]

1933:
Professional Model 		New Delhi, National Gallery of Modern Art 72× 100 cm
Oil on canvas[54] 		Created in 1933 in Paris and depicts a nude consumptive. Its vernissage took place in February 1933.[60]

Displayed at the 1937 exhibition in Lahore.[17]

Paintings (1934)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
1934:
Model in Green 		Created in 1934 in Paris and modelled on the same nude as in Professional Model.[61]
  1934:
Self-portrait with long hair 		Private collection[54] 35.5× 45.7 cm
Oil on canvas[54] 		Painted in Paris[54]
1934:
Model in Brown 		Created in 1934 in Paris and modelled on the same nude as in Professional Model.[61]
  1934:
View from Studio 		Private collection[54] 42 × 45.6 cm
Oil on canvas[54] 		Probably completed from her studio at the corner of the Rue de la Grande-Chaumière, in the Rue Notre-Dame-des-Champs.[9]

In 1938, at the All India Fine Arts and Crafts Society's exhibition in Delhi, it was awarded best picture in oils and gold medal for best picture by a female artist.[20]

In Sher-Gil's opinion it was the "weakest" of the five paintings she submitted.[20]

  1934:
Self-Portrait as a Tahitian 		Delhi, Kiran Nadar Museum of Art 90 × 56 cm
Oil on canvas 		[62]
Boat Landscape, painted in the summer of 1934, Veroce, Hungary, where her maternal aunt Blanca lived.[9]
Vine Landscape, painted in Veroce.[9]
  1934:
The Little Girl in Blue 		India, private collection 48 × 40.6 cm
Oil on canvas[63] 		One of Sher-Gil's earliest paintings upon returning to India in 1934.[64] It depicts a young Babette Mann.[65]

Displayed at the 1937 exhibition in Lahore, with a sale price of ₹150, and bought by Charles Fabri.[17]

Sold by auction in 2018 for ₹18.69 crore, equivalent to $2.67 million.[31][66]

  1934:
View from Majithia House 		Payal and Rajiv Chaudhri, New York[67] 33× 23 cm
Oil on canvas[67] 		Painted in December 1934[63]

Paintings (1935)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1935:
Group of Young Girls 		New Delhi, National Gallery of Modern Art 92.8 × 66.5 cm
Oil on canvas[67] 		Completed on 1 January 1935.[10]

Sher-Gil wrote to her mother on 1 January 1935 "Today I finished the painting of Mahindra's three daughters. It is excellent".[68]

Also called Group of Young Girls, it was displayed at the 1937 exhibition in Lahore for a price of ₹700.[17][69]

  1935:
Woman on Terrace 		Private collection[67] 73.6 × 99 cm
Oil on canvas[67] 		Painted in February 1935 at Majithia House, Amritsar, and modelled on Mohindra's maid, Guro.[70]

Displayed at the 1937 exhibition in Lahore for a price of ₹500.[17]

1935:
Beggars 		Private collection[63] 59 × 84 cm
Oil on canvas[63] 		Painted in early 1935 at Simla.[71]
  1935:
Woman with Sunflower 		Formerly called Indian Peasant Woman.[11][71]
  1935:
Woman with Fan 		New Delhi, National Gallery of Modern Art 59 × 82.5 cm
Oil on canvas[67] 		Painted in July 1935 at Mashobra, Simla, modelled on Prakash, Umrao Singh's daughter by his first marriage.[72]

Sher-Gil possibly later made alterations to the face.[26]

  1935:
Boys with Lemons 		Private collection[67] 56 × 90 cm
Oil on canvas[67] 		Painted at Simla.[67]
  1935:
Mother India 		New Delhi, National Gallery of Modern Art 62 × 78 cm
Oil on canvas 		Painted in May/June 1935 at Simla.[10][73]

Formerly titled Beggar Woman.[11]

Displayed at both the 1936 exhibition at the Cecil, and the 1937 exhibition in Lahore for a price of ₹500.[17][13]

Possibly reminiscent of the poor man in Picasso's Blue Period.[9]

  1935:
Portrait of Malcolm Muggeridge 		Sikander Rahim (son of Esther Rahim), Pakistan[63] Sher-Gil met Muggeridge in May 1935 and last saw him in September that year.[64]

Painted at Simla in June 1935.[10][63]

  1935:
Malcolm Muggeridge 		New Delhi, National Gallery of Modern Art[63] 59.5 × 94 cm
Oil on canvas 		Painted at Simla in June 1935.[10][63]

His hand is larger than his face.[64]

  1935:
Portrait of Father 		60 × 91.5 cm
Oil on canvas[63] 		Painted in May/June 1935 at Simla.[10][73]

Displayed at the 1937 exhibition in Lahore for a price of ₹500.[17]

  1935:
Man in White 		Painted at Simla and modelled on student philosopher from Delhi, Prem Chand (1911–1995).[9][73]

Displayed at the 1937 exhibition in Lahore for a price of ₹350.[17] There, she was offered ₹250 for it.[19]

Portrait of Mr. F. M. Khan Hamid Haroon, Pakistan[64] In green, blue and grey, he is posed on a stool.[64]

Gifted to publisher of Dawn, Haroon in the 1990s by Khan's widow.[64][74]

  1935:
Nude Group 		New Delhi, National Gallery of Modern Art 81.3 × 114.3 cm
Oil on canvas[67] 		In the foreground is Sumair Kaur.[75]
  1935:
Two Women 		New Delhi, National Gallery of Modern Art 74 × 100 cm
Oil on canvas[67] 		Painted at Saraya.[67]
  1935:
Two Women in White 		Private collection.[63] 35 × 24 cm
Oil on canvas[63] 		Painted at Simla.[63][76]
  1935:
Hill Men 		89× 148.5 cm
Oil on canvas[63] 		Painted in 1935 at Simla.[63][d]
  1935:
Hill Women 		Private collection of Vivan Sundaram and Navina Sundaram, Delhi 89 × 147.3 cm
Oil on canvas[63] 		Painted in 1935 after Hill Men, at Simla.[63]

Depicts three young women and a girl.[8]

Exhibited at the Paris Salon in 1936 and then at Hyderabad for a price of ₹2,500, where it was admired by Sarojini Naidu, who tried to persuade the Museum of Hyderabad to acquire the painting.[46]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,500.[17]

Paintings (1936)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1936:
Raja Surat Singh 		Private collection[79] 48.5 × 74 cm
Oil on canvas[79] 		Painted in February 1936 at Saraya.[79]
  1936:
The Little Untouchable 		Whereabouts unknown[79] Painted in March 1936 at Saraya.[13]
  1936:
Portrait of Girl with Flower 		Private collection[79] 30 × 40 cm
Oil on canvas[79] 		Painted in March 1936 at Saraya.[79]
  1936:
Child Wife 		Private collection[79] 53 × 76 cm
Oil on canvas[79] 		Painted in March 1936 at Saraya.[79]

Also known as Child Bride.[13]

Was planned to be shown at the Lahore exhibition in November 1937, but Sher-Gil changed her mind.[80]

  1936:
Sunder Singh 		Private collection[79] 50.8 × 64.7 cm
Oil on canvas[79] 		Painted in March 1936 at Saraya[79]
  1936:
Portrait of Joji 		Private collection[79] 64.7 × 92.7 cm
Oil on canvas[79] 		Painted in March 1936 at Saraya[79]

Depicts Joji, Jagjeevan/Gurjeevan (1913–2005), daughter of Kirpal Singh Majithia, and sister of Dalip Singh Majithia.[81]

Sher-Gil wrote to her mother on 10 February 1936 that "I shall grudgingly paint her to her advantage so that she likes her image, and maybe she will purchase my painting".[81]

  1936:
Sumair 		New Delhi, National Gallery of Modern Art 54 × 89 cm
Oil on canvas[82] 		Portrait of Sumair Kaur, daughter of Umrao Singh's first son, Balram. Painted at Saraya.[75][e]
  1936:
Portrait of Sister 		Private[79] 62 × 92.7 cm
Oil on canvas[79] 		Painted at Simla.[79]
  1936:
Woman in Red 		Seeta Badrinath, Chennai[79] 53 × 89 cm
Oil on canvas[79] 		Painted at Simla.[79][83]
  1936:
Composition[13] 		Private collection[79] 68.5 × 91.4 cm
Oil on canvas[79] 		Considered by herself as one of her best at the time.[84] It was titled "Water Carriers" when exhibited at the Salon.[85]

Depicts a water jar in front of a child and a coolie.[86]

Painted in Simla and sold in November 1936 at Sher-Gil's exhibition at the Taj Mahal Palace Hotel Mumbai for ₹1,000 to Anand Prabha Shankar Pattani, son of Prabhashankar Pattani.[86]

It was one of five of her paintings exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi in 1938.[20]

Paintings (1937)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1937:
Fruit Vendors 		New Delhi, National Gallery of Modern Art 73.6 × 105.5 cm
Oil on canvas[82] 		Painted in January 1937 at Cape Comorin.[82]

Displayed at the 1937 exhibition in Lahore for a price of ₹250.[17]

  1937:
The Vina Player 		Lahore Museum, Lahore, Pakistan[87] Displayed at the Lahore exhibition (1937), where it was bought for the museum.[17]
  1937:
Raja of Kollengode 		Siddarth John, Thiruvananthapuram.[82] 77.5× 116 cm
Oil on canvas[82] 		Painted at Simla in March 1937, a "portrait to order", her mother described it as "an ancient pope propped up in his chair to receive the final unction".[88]
  1937:
Girl with Pitcher 		Whereabouts unknown[82] 68 × 105.4 cm
Oil on canvas[82] 		Completed in Simla in April 1937, she told Karl that this painting was a success for her: "two dark figures, burnt sienna against a luminous white background".[88]
  1937:
Bride's Toilet[3] 		New Delhi, National Gallery of Modern Art 144.5 × 86 cm
Oil on canvas[82] 		Completed in April 1937.[82]

One of Sher-Gil's South Indian trilogy.[89]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[17]

  1937:
Brahmacharis 		New Delhi, National Gallery of Modern Art 144.5 × 86.5 cm
Oil on canvas[87] 		Painted in May 1937 at Simla.[87]

One of Sher-Gil's South Indian trilogy.[89]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[17]

  1937:
Village Girl 		New Delhi, National Gallery of Modern Art 56 × 90 cm
Oil on canvas[82]
  1937:
Namaskar 		New Delhi, National Gallery of Modern Art 38 × 48.7 cm
Oil on canvas[82] 		Painted at Simla.[82]
  1937:
South Indian Villagers going to Market 		90 × 147.3 cm
Oil on canvas[87] 		Painted at Sher-Gil's home, The Holme, Simla, around October 1937, along with the two smaller compositions The Story Teller and Siesta.[16][3]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,500.[17]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22]

  1937:
Self-Portrait 		Private collection[82] 52 × 78 cm
Oil on canvas[82] 		Completed in October 1937 at Simla.[82]

Possibly the painting Sher-Gil calls Pink Self-portrait, sold at the Lahore exhibition in November 1937.[19][90]

  1937:
Siesta 		New Delhi, National Gallery of Modern Art[87] 83 × 55 cm
Oil on canvas[87] 		Painted in October 1937 at Simla.[87]

According to Vivan Sundaram it was originally titled Fantasy, and completed at Simla.[3]

Displayed at the 1937 exhibition in Lahore for a price of ₹750.[17]

Sher-Gil in a letter to Khandelwal dated 19 December 1937, wrote "my fantasy (which I have called Painting)",[91] and was priced at ₹350 at Lahore.[17]

Sher-Gil possibly later made alterations to the painting.[26]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22]

  1937:
Dressing the Bride 		Private collection[82] 70 × 95 cm
Oil on canvas[82] 		Painted at Simla in November 1937.[82]
  1937:
Women on the Beach 		Government Museum and Art Gallery, Chandigarh[82] 29.9 × 40 cm
Oil on canvas[82] 		Painted at Cape Comorin.[82]

Modelled on South Indian women.[92]

1937:
Villagers in Winter
Oil on canvas 		One of Sher-Gil's South Indian trilogy.[89]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[17]

1937:
Mendicant 		New Delhi, National Gallery of Modern Art 36 × 52 cm
Oil on canvas[87] 		Painted at Simla[87]
1937:
Two Mendicants 		New Delhi, National Gallery of Modern Art 66.5 × 89.5 cm
Oil on canvas[87] 		Painted at Simla[87]
  1937:
Lady Daljit Singh of Kapurthala 		New Delhi, National Gallery of Modern Art[82] 55 × 89 cm
Oil on canvas[82] 		Portrait of Rani Lady Daljit Singh of Kapurthala.[82]
1937:
Self-Portrait 		Private collection.[82] 52× 78 cm
Oil on canvas[82] 		One of two self-portraits completed in Simla, Sher-Gil described this as "sugary".[3]
1937:
Self-Portrait in Blue Sari 		Private collection[82] 45× 79 cm
Oil on canvas[82] 		One of two self-portraits completed in Simla.[3]
  1937:
Head of Girl 		Private collection[87] 29 × 33 cm
Oil on canvas[87] 		Painted at Simla.[87]
  1937:
Bullock Cart 		Private collection[87] 41 × 30 cm
Oil on canvas[87] 		Painted at Simla.[87]
1937:
The Story Teller 		India, private collection 59 × 79 cm
Oil on canvas 		Sher-Gil's first painting with animals,[16] she described it as "a little composition with cows", and Karl noticed its Pahari characters.[19]

Bought by Badruddin Tyabji jr at the 1937 exhibition in Lahore, where it was put up for ₹250.[17]

Sold at auction in 2023 for ₹61.8 crore ($2.67 million).[93]

Paintings (1938)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
1938:
Portrait of a Stout Lady 		Whereabouts unknown.[19] One of two commissioned paintings, Sher-Gil called "nerve-wracking". Begun in Lahore in December 1937, and completed in January 1938. Sher-Gil described it as "a stout lady who squints outward and wants to be depicted slender and charming. How I hate it".[19][94] Left unsigned.[19]
Portrait of Mrs Hirlalal Though Sher-Gil typically charged ₹500 for each portrait of a head, two portraits were requested for Hirlalal, and she asked for ₹700 to do both.[19]
  1938:
Portrait of Shakuntala Kapur 		National Art Gallery, Pakistan[94][f] One of two commissioned paintings, Sher-Gil called "nerve-wracking", completed in early 1938 in Lahore, it depicts Shakuntala Lall, who asked Sher-Gil to adjust her "ugly" fingers to appear slender.[94] Sher-Gil did as requested and left the painting unsigned.[95]

In the 1950s it was found in a rag shop in Lahore and acquired for free by Ashfaq Ahmed.[94] Ahmed was charged ₹3 for the frame and offered the picture for nothing. He walked away with the painting, leaving the frame behind.[94] At the request of artist Zubeida Agha, he gave it to the National Art Gallery, Islamabad.[94]

  1938:
Portrait of Helen 		Whereabouts unknown[87] 26.5 × 35 cm
Oil on canvas[87] 		In January 1938 from Faletti's, Sher-Gil painted Helen Chaman Lall, and wrote to her parents "I have started on a head of Mrs. Chaman Lall for which I don't wish to charge them anything".[96][94]
1938:
Red Brick House 		Private[97] 37 × 26.6 cm
Oil on canvas[97] 		Completed in Lahore in January 1938.[97]

Depicts a bakery called Thompson's and was given to N. Iqbal Singh.[94]

In July 2006, it was sold at Osian's for ₹ 1.3 crore.[98]

  1938:
Elephants Bathing in a Green Pool 		81 × 56 cm
Oil on canvas[97] 		Completed in Saraya in February 1938.[10]

It was one of five of her paintings exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi in 1938.[20]

  1938:
Village Group 		Private collection[97] 95 × 66 cm
Oil on canvas[97] 		Painted in March 1938 at Saraya.[97]
1938:
Women in Red 		New Delhi, National Gallery of Modern Art 59.5 × 53.7 cm
Oil on canvas[97] 		Painted in March 1938 at Saraya.[97]
  1938:
Three Bullock Carts 		Private collection[97] 78.7 × 40.6 cm
Oil on canvas[97] 		Completed in Saraya in March 1938.[97]
  1938:
Hill Scene 		New Delhi, National Gallery of Modern Art[97] 65 × 87.5 cm
Oil on canvas[97] 		Completed in Simla in April 1938.[97]
  1938:
Hill Side 		New Delhi, National Gallery of Modern Art 65 × 87.5 cm
Oil on canvas[97] 		Completed in Simla in June 1938.[97]
  1938:
Village Scene[99] 		Indian businessman, Nand Khemka, private collection[100] 84 × 62 cm
Oil on canvas[97] 		Painted around February–March 1938,[10] in Simla.[97]

Sold at Osian's in March 2006 to Khemka for $1.6 million.[100][101]

  1938:
In the Ladies Enclosure 		Private collection[97][102] 81 × 56 cm
Oil on canvas[97] 		Painted in March 1938 at the family estate in Saraya, Gorakhpur.[97][102]

Depicts a group of women, including members of the Majithia family, and a dog.[102][103]

Sold at auction in 2021 for ₹ 37.8 crore.[103]

  1938:
Red Clay Elephant 		Vivan and Navina Sundaram collection, New Delhi.[97] 66 × 96.5 cm
Oil on canvas[97] 		Completed in March 1938 at Saraya.[97]

Formerly known as Ganesh Puja.[73]

  1938:
Red Verandah 		New Delhi, National Gallery of Modern Art 71.6 × 144.2 cm
Oil on canvas[97] 		Painted in May 1939 in Simla.[97]
  1938:
Sardarni Kirpal Singh Majithia 		Private collection[97] 66 × 92.7 cm
Oil on canvas[97] 		Painted in April 1938 in Saraya, Sher-Gil wrote to her mother in March 1938..."Kirpal has asked me to paint his wife from memory and the aid of a rotten photograph".[20][g]
1938:
Potato Peeler 		New Delhi, National Gallery of Modern Art 59.5 × 72.7 cm
Oil on canvas[104] 		Completed in November 1938 in Hungary.[104]
1938:
In the Garden 		75 × 60 cm
Oil on canvas 		Private collection Painted in Hungary and gifted to Viola Egan.[105]
  1938:
Hungarian Church Steeple 		Private collection[104] 45.7 × 67.3 cm
Oil on canvas[104] 		Painted in Kiskunhalas, Hungary, in November 1938, a few months after she returned there to marry Viktor Egan.[21][104]
  1938:
Hungarian Village Market 		New Delhi, National Gallery of Modern Art[104] 72 × 97 cm
Oil on canvas[104] 		Painted in Kiskunhalas, Hungary, in November 1938.[21][104]

Best known artwork of hers from this trip to Hungary.[21]

Depicts the white tower of Kiskunhalas church behind people dressed in black[9]

1938:
Trees 		Zsuzsa Urbach, Budapest.[104] 38.2 × 61 cm
Oil on canvas[104]
  1938:
Hungarian Peasant 		New Delhi, National Gallery of Modern Art[104] 38 × 53 cm
Oil on canvas[104] 		Painted in Kiskunhalas in November 1938.[104]

Paintings (1939)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1939:
Winter 		New Delhi, National Gallery of Modern Art 73.6 × 52 cm
Oil on canvas[104] 		Painted in Zebegény in January 1939[104]
  1939:
Merry Cemetery 		New Delhi, National Gallery of Modern Art 73 × 98.5 cm
Oil on canvas[104] 		Painted in Zebegény.[106]
  1939:
Portrait of Victor Egan 		Private collection of Manoj Israni (2022)[107] 63.5× 80 cm
Oil on canvas[104] 		Painted in Hungary.[104]

Portrays Egan in army uniform, and sold in 2020 to Manoj Israni for ₹10.86 crore.[107]

  1939:
Female Torso 		New Delhi, National Gallery of Modern Art 56 × 99 cm
Oil on canvas[104] 		Painted in Budapest.[104]
  1939:
Two Girls 		Vivan & Navina Sundaram[104] 89 × 129 cm
Oil on canvas[104] 		Painted in Budapest in March 1939,[62][104] the dark girl is modelled on a dark Hungarian gypsy.[1][108][109]
  1940:
Resting 		New Delhi, National Gallery of Modern Art 99 × 110.7 cm
Oil on canvas[110] 		Painted in November 1939 at Simla.[110]

Paintings (1940)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1940:
Ancient Story Teller 		New Delhi, National Gallery of Modern Art[110] 70 × 87 cm
Oil on canvas[110] 		Painted at Saraya in January 1940.[111]

The painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22] There, it was awarded the Sardar S. G. Thakur Singh Award (₹50) for best composition in oil.[22]

Displayed by the Budapest Kunsthalle at New Delhi, in 1979.[9]

  1940:
The swing 		New Delhi, National Gallery of Modern Art[110] 70 × 91.4 cm
Oil on canvas[110] 		Completed in March 1940,[111] the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22]

The main figure is modelled on (Tejwant Kaur (Teji), daughter of Kirpal Singh Majithia, Sher-Gil's cousin.[112]

  1940:
Woman on Charpoy 		New Delhi, National Gallery of Modern Art[110] 85 × 72.4 cm
Oil on canvas[110] 		Completed at Saraya in June 1940.[69][73][113][114]

The main figure is modelled on Teji.[112]

  1940:
Bride 		New Delhi, National Gallery of Modern Art[110] 70 × 98 cm
Oil on canvas[110] 		Painted at Saraya[10][115]
  1940:
Resting Mother 		New Delhi, National Gallery of Modern Art[110] 97 × 72 cm
Oil on canvas[110] 		Painted at Saraya.[110]
  1940:
Elephant Promenade 		New Delhi, National Gallery of Modern Art[110] 92.5 × 126.5 cm
Oil on canvas[110] 		In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22]
  1940:
Elephants 		New Delhi, National Gallery of Modern Art[110] 72 × 86.3 cm
Oil on canvas[110] 		Painted in March 1940 in Saraya.[110]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October – 10 November), to raise money for the War Fund.[22]

  1940:
Two Elephants 		New Delhi, National Gallery of Modern Art[110] 43.2 × 52 cm
Oil on canvas[110] 		Painted at Saraya.[110]
  1940:
Haldi Grinders 		New Delhi, National Gallery of Modern Art[110] 74.7 × 100 cm
Oil on canvas[110] 		Painted at Saraya.[110]
  1940:
Musicians 		New Delhi, National Gallery of Modern Art[110] 67.5 × 93 cm
Oil on canvas[110] 		Painted in December 1940.[110]

Depicts three Sants.[116]

1940:
Horse and Groom 		Unknown[110] Painted at Saraya.[110]
  1940:
Woman at Bath 		New Delhi, National Gallery of Modern Art[110] 70 × 92 cm
Oil on canvas[110] 		Painted at Saraya.[110]

Paintings (1941)

edit
Table featuring paintings by Amrita Sher-Gil
Image Title Collection Dimensions
Technique 		Notes Ref.
  1941:
Village Girls 		New Delhi, National Gallery of Modern Art 44.3 × 52.2 cm
Oil on canvas[110] 		Painted at Saraya in August 1941.[117]

From Sardarnagar, Gorakhpur, Sher-Gil wrote to Badruddin Tyabji on 3 September 1941 that she had completed the Village Girls after at least six months of not looking at her brushes. "The spell has suddenly broken now and I am working with passion".[117]

In Sher-Gil's words it depicts "four little girls weaving baskets. The background an acid lemon, the children a medley of hot colour."[117]

  1941:
Camels 		New Delhi, National Gallery of Modern Art[110] 74.7 × 100 cm
Oil on canvas[110] 		Painted at Saraya in September 1941.[110]

Sher-Gil wrote to her mother on 29 August 1941 that "I am doing a lot of drawings of animals. Camels, horses, baffaloes etc.".[118]

In Sher-Gil's words it depicts "a curious rose coloured Indian saddle on one of the animals".[117]

Displayed by the Budapest Kunsthalle at New Delhi, in 1979.[9]

  1941:
The Last Unfinished Painting 		New Delhi, National Gallery of Modern Art[110] 65.7× 87.5 cm
Oil on canvas[110] 		Was being painted in early December 1941 at Lahore.[21]

Sher-Gil's intention was to paint what she could see from her terrace: the milkmen's buffaloes that lived near her home.[21]

See also

edit

Notes

edit
  1. ^ In Self-Portrait as a Tahitian " her tanned naked body is slightly turned, a possible reference to the artist's longing to return to India".[8]
  2. ^ Not mentioned in Sundaram's book
  3. ^ Sundaram notes this to have been completed in 1932, though Sotheby's point out that Sher-gil signed it dated 1933.[53][52]
  4. ^ Sundaram lists Hill Men as completed in December 1935, and Hill Women the previous month.[10] Others state that Hill Men was created first.[77][78]
  5. ^ Sumair (born 1918), became a model in Paris and was later associated with the underworld, Nazis and Axis agents. Bernard Wasserstein describes her as having "a podgy face and snub nose, and was somewhat short for a model".[75]
  6. ^ Sundaram states this painting's whereabouts is unknown.[87]
  7. ^ Kirpal Singh (1891–1944) was Sher-Gil's cousin, married to Raminder Kaur (1894–1936), also known as Sardarni Kirpal Singh Majithia[10]

References

edit
  1. ^ a b c d e f g h i j k Sundaram, pp. 796–811
  2. ^ a b Dalmia, pp. 31-32
  3. ^ a b c d e f Sundaram, pp. 416–417
  4. ^ a b Sundaram, pp. 72–79
  5. ^ a b c "Hungarian Village Church". www.christies.com. Christies. 2013. Retrieved 15 February 2024.
  6. ^ a b c d Sher-Gil, Amrita (2014). "1. Evolution of my art". In Dalmia, Yashodhara (ed.). Amrita Sher-Gil: Art & Life : a Reader. Oxford University Press. pp. 3–8. ISBN 978-0-19-809886-7.
  7. ^ a b c d e f g h i j k l Sundaram, pp. 80–85
  8. ^ a b c d Haupt, Christina (2016). Amrita Sher-Gil and the representations of non-western female bodies. Norderstedt: Grin. pp. 2–4. ISBN 978-3-6684-887-7-9.
  9. ^ a b c d e f g h i j k l m n o p q r s Keserü, Katalin (2014). "8. Amrita Sher-Gil: the Indian painter and her French and Hungarian connections". In Dalmia, Yashodhara (ed.). Amrita Sher-Gil: Art & Life : a reader. Oxford University Press. pp. 65–126. ISBN 978-0-19-809886-7.
  10. ^ a b c d e f g h i j k l Sundaram, pp. vi–xliii
  11. ^ a b c d e f Sundaram, pp. 214–217
  12. ^ Sundaram, p. 234
  13. ^ a b c d e f Sundaram, pp. 246–247
  14. ^ Sundaram, pp. 266–270
  15. ^ Sundaram, pp. 271–285
  16. ^ a b c Dalmia, pp. 98–100
  17. ^ a b c d e f g h i j k l m n o p q r s t u Sundaram, pp. 422–424
  18. ^ Sundaram, pp. 418–421
  19. ^ a b c d e f g h Sundaram, pp. 430–431
  20. ^ a b c d e f Sundaram, pp. 471–473
  21. ^ a b c d e f g h Singh, N Iqbal (1975). "Amrita Sher-Gil". India International Centre Quarterly. 2 (3): 209–217. ISSN 0376-9771.
  22. ^ a b c d e f g h i j Sundaram, pp. 684–685
  23. ^ Khanna, S. (2015). The Contemporary Novel and the City: Re-conceiving National and Narrative Form. Palgrave Macmillan. pp. 132–134. ISBN 978-1-137-33624-8.
  24. ^ Banik, Pinak (1 January 2019). "Containing the Cosmetic Nation: Acquisition of Sass Brunner Paintings". Prabuddha: Journal of Social Equality.
  25. ^ Dalmia, p. 36
  26. ^ a b c d e Dalmia, pp. 204–205
  27. ^ The Protection of Movable Cultural Property: Compendium of Legislative Texts. Unesco. 1984. p. 167. ISBN 978-92-3-101638-7.
  28. ^ a b c d e f g h i j k l m n o p Sundaram, p. 801
  29. ^ a b c d e f g h i j k l m n o p q r s t u Sundaram, p. 798
  30. ^ Dalmia, p. 54
  31. ^ a b Shaw-Johnson, Amanda (2021). Why Now?: The Euro-U.S. Canon Adopts Tarsila do Amaral and Amrita Sher-Gil Almost 90 Years Later (Thesis). UC Davis.
  32. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Sundaram, p. 799
  33. ^ Sundaram, p. 78
  34. ^ a b c d e f g h i j k l m n o p Sundaram, p. 800
  35. ^ a b c d Sundaram, pp. 98–99
  36. ^ Dalmia, pp. 34–35
  37. ^ Roy, Amit (2015). "Sold: Sher-Gil self-portrait for £1.7m". www.telegraphindia.com. Archived from the original on 25 November 2023. Retrieved 25 November 2023.
  38. ^ a b c Sundaram, pp. 60–61
  39. ^ "Alfred Cortot". www.museumsofindia.gov.in. Archived from the original on 12 January 2024. Retrieved 8 January 2024.
  40. ^ a b c d e f g h i j k l m n Sundaram, p. 797
  41. ^ Sundaram, p. 166
  42. ^ Sundaram, p. 392
  43. ^ Sundaram, p.86
  44. ^ Sundaram, pp. 76–79
  45. ^ Sundaram, pp. 140–141
  46. ^ a b c Sundaram, pp. 278–285
  47. ^ Sundaram, p. 56
  48. ^ Jhala, Kabir (2 March 2021). "Rediscovered portrait by India's most famous female painter Amrita Sher-Gil expected to sell for $2.8m". The Art Newspaper – International art news and events. Archived from the original on 4 January 2024. Retrieved 23 December 2023.
  49. ^ Dalmia, pp. 39–42
  50. ^ Higgie, Jennifer (2021). The Mirror and the Palette: Rebellion, Revolution and Resilience: 500 Years of Women's Self-Portraits. Hachette. p. 190. ISBN 978-1-4746-1380-4.
  51. ^ Anand, Mulk Raj (1989). Amrita Sher-Gil. National Gallery of Modern Art. p. 10.
  52. ^ a b "(#1336) Amrita Sher-Gil". Sothebys.com. Retrieved 12 November 2024.
  53. ^ Sundaram, p. 102
  54. ^ a b c d e f g h i j k l m n Sundaram, p. 802
  55. ^ a b Sundaram, Vivan; Sher-Gil, Umrao Singh (2001). Re-take of Amrita: Digital Photomontages Based on Photographs by Umrao Singh Sher-Gil (1870–1954) and Photographs from the Sher-Gil Family Archive. Tulika. p. 55. ISBN 978-81-85229-49-2.
  56. ^ Sundaram, p. 94
  57. ^ a b c d Sundaram, pp. 112–115
  58. ^ Singh, Nikky-Guninder Kaur (2011). "8. Sikh art". Sikhism: An Introduction. New York: Bloomsbury Publishing. pp. 239–250. ISBN 978-1-84885-320-1.
  59. ^ Sundaram, pp. 522–523
  60. ^ Dalmia, p. 50
  61. ^ a b Dalmia, pp. 29–30
  62. ^ a b Bhushan, Nalini (2020). "19. Amrita Sher-Gil: identity and integrity as a mixed-race woman artist in colonial India". In Alston, Charlotte; Carpenter, Amber; Wiseman, Rachael (eds.). Portraits of Integrity: 26 Case Studies from History, Literature and Philosophy. London: Bloomsbury Publishing. pp. 195–206. ISBN 978-1-350-04039-7.
  63. ^ a b c d e f g h i j k l m n o p Sundaram, p. 804
  64. ^ a b c d e f Dalmia, pp. 59–75
  65. ^ "Amrita Sher-Gil Portrait Comes to Market After 80 Years". Sothebys.com. Sothebys. 26 November 2018. Retrieved 29 October 2024.
  66. ^ "Amrita Sher-Gil's 'The Little Girl in Blue' fetches Rs 18.69 crore". Tribune. 30 November 2018. Archived from the original on 12 November 2023. Retrieved 12 November 2023.
  67. ^ a b c d e f g h i j k l Sundaram, p. 803
  68. ^ Sundaram, pp. 184–185
  69. ^ a b Mandakini; Gupta, Ila; Jha, P. (2016). "20. Gender and space in the paintings of Raja Ravi Varma and Amrita Sher-Gil". In Seta, Fumihiko; Biswas, Arindam; Khare, Ajay; Sen, Joy (eds.). Understanding Built Environment: Proceedings of the National Conference on Sustainable Built Environment 2015. Springer. pp. 237–254. ISBN 978-981-10-2136-7.
  70. ^ Sundaram, pp. 192–196
  71. ^ a b Dalmia, p.61
  72. ^ Sundaram, pp. 208, 334
  73. ^ a b c d e Sundaram, pp. 642–647
  74. ^ Wasim, Omer (5 November 2015). "Different strokes". Herald Magazine. Retrieved 28 January 2024.
  75. ^ a b c Sundaram, pp. 178–181, 202
  76. ^ Sundaram, p. 208
  77. ^ Dalmia, p. 73
  78. ^ Tillotson, G.H.R. (1997). "A Painter of Concern: Critical Writings on Amrita Sher-Gil". India International Centre Quarterly. 24 (4): 57–72. ISSN 0376-9771.
  79. ^ a b c d e f g h i j k l m n o p q r s t u v w x Sundaram, p. 805
  80. ^ Sundaram, pp. 412–413
  81. ^ a b Sundaram, p. 227-229
  82. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab Sundaram, p. 806
  83. ^ Sundaram, p. 247
  84. ^ Foulds, J. P. (7 November 1936). "Amrita Sher-Gil and Indian art: formulation of a new technique". Civil & Military Gazette. Lahore. p. 13.
  85. ^ Sundaram, p. 345
  86. ^ a b Sundaram, pp. 260–261
  87. ^ a b c d e f g h i j k l m n o p q r s t Sundaram, p.807
  88. ^ a b Sundaram, pp. 362-363
  89. ^ a b c Dalmia, pp. 201–202
  90. ^ Sundaram, pp. 410-411
  91. ^ Sundaram, pp. 428–429
  92. ^ Dalmia, pp. 84, 90
  93. ^ "Amrita Sher-gil's 'The Story teller' is now the most expensive Indian painting! Oil on canvas masterpiece fetches Rs 61.8 cr at Delhi auction". The Economic Times. 19 September 2023. ISSN 0013-0389. Archived from the original on 26 September 2023. Retrieved 19 September 2023.
  94. ^ a b c d e f g h Dalmia, pp.103–104
  95. ^ Singh, N. Iqbal (1984). Amrita Sher-Gil: A Biography. Vikas. p. 118. ISBN 978-0-7069-2474-9.
  96. ^ Sundaram, pp. 438–439
  97. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Sundaram, p. 808
  98. ^ Sundaram, pp. 454–455
  99. ^ Dalmia, Yashodhara (2014). "7. Transformation of the pre-modern to the modern in early twentieth-century Indian art". In Dalmia, Yashodhara (ed.). Amrita Sher-Gil: Art & Life : a reader. Oxford University Press. pp. 53–64. ISBN 978-0-19-809886-7.
  100. ^ a b Bethlenfalvy, Za (2011). "Amrita Sher-Gil: A Painter of Two Continents". The Hungarian Quarterly (201): 87–98. ISSN 0028-5390.
  101. ^ Sooke, Alastair (24 February 2007). "Laid bare – the free spirit of Indian art". The Telegraph. Archived from the original on 17 December 2023. Retrieved 17 December 2023.
  102. ^ a b c Hodge, Susie (2024). "In the Ladies' Enclosure". Elements of Art: Ten Ways to Decode the Masterpieces. Frances Lincoln. p. 135. ISBN 978-0-7112-8665-8.
  103. ^ a b Tripathi, Sumedha (15 July 2021). "After Selling For Rs 37.8 Cr, Amrita Sher-Gil's Art Becomes The Second Most Expensive Indian Artwork". IndiaTimes. Retrieved 13 February 2024.
  104. ^ a b c d e f g h i j k l m n o p q r s t u v w Sundaram, p. 809
  105. ^ "Amrita Sher-Gil". Sothebys.com. Sotheby's. Archived from the original on 5 February 2024. Retrieved 5 February 2024.
  106. ^ Dalmia, p. 198
  107. ^ a b Gupta, Jahnavi (24 December 2020). "Amrita Sher-Gil's rare portrait fetches over Rs 10 crore". Hindustan Times. Archived from the original on 1 January 2024. Retrieved 12 December 2023.
  108. ^ Sundaram, pp. 570–572
  109. ^ Dalmia, pp. 118–19
  110. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al Sundaram, pp. 810-811
  111. ^ a b Dalmia, pp. 133-134
  112. ^ a b Sundaram, pp.498–499
  113. ^ Sen, Geeti (2002). Feminine fables : imaging the Indian woman in painting, photography,and cinema. Ahmedabad: Mapin Publishing. p. 63. ISBN 978-81-85822-88-4.
  114. ^ Dalmia, pp. 135, 149-150
  115. ^ Dalmia, p. 136
  116. ^ Sundaram, pp. 694–697
  117. ^ a b c d Sundaram, pp. 743–745
  118. ^ Sundaram, pp. 737–741

Bibliography

edit
edit
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_paintings_by_Amrita_Sher-Gil&oldid=1259144397"