Amrita Sher-Gil was a Hungarian-Indian painter regarded as one of the most important pioneers of modern Indian art. Trained at the Ecole des Beaux-Arts in Paris, she absorbed European modernist technique before returning to India in the 1930s, where she turned to depicting Indian village life, particularly the lives of women, in a style that fused Post-Impressionist color and form with subjects and compositional cues drawn from Indian miniature painting and the Ajanta cave murals. Works such as Bride's Toilet and Three Girls are considered landmark achievements in the development of a distinctly modern Indian pictorial language, and Sher-Gil, who died at twenty-eight, is now recognized by the Indian government as a national art treasure.
Facts
TrainingAcademie de la Grande Chaumiere, Paris, under Pierre Vaillent and Lucien Simon 1 Sources
1. Wikipedia: Amrita Sher-Gil
Early life, birth sentence (birth year)
Amrita Sher-Gil was born Dalma-Amrita on 30 January 1913, at 4 Szilágyi Dezső square, Budapest, then part of the Austro-Hungarian Empire.
Early life, birth sentence (birth date)
Amrita Sher-Gil was born Dalma-Amrita on 30 January 1913, at 4 Szilágyi Dezső square, Budapest, then part of the Austro-Hungarian Empire.
Early life, birth sentence (birthplace)
Amrita Sher-Gil was born Dalma-Amrita on 30 January 1913, at 4 Szilágyi Dezső square, Budapest, then part of the Austro-Hungarian Empire.
Illness and death section (death year)
She later died around midnight on 5 December 1941
Illness and death section (death date)
She later died around midnight on 5 December 1941
Infobox, Died entry (death place)
5 December 1941(1941-12-05) (aged 28) Lahore, Punjab, British India
Early life, Paris studies
At sixteen, Sher-Gil 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
Gender reference
Trained at the Ecole des Beaux-Arts in Paris, she absorbed European modernist technique before returning to India in the 1930s, where she turned to depicting Indian village life, particularly the lives of women, in a style that fused Post-Impressionist color and form with subjects and compositional cues drawn from Indian miniature painting and the Ajanta cave murals.
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