This eminent artist, born to a Punjabi Sikh aristocrat father Umrao Singh Shergill and a Hungarian mother Marie Antoinette, is sometimes referred to as 'India's Frida Kahlo' – the radical Mexican Feminist painter who also happened to be a contemporary of Shergil. Amrita's artistic contribution, however, is far more pathbreaking – miraculously bringing-together an amalgamation of extremely diverse artistic strands. As a stylistic phenomenon never-before seen in the history of world Art, Amrita Shergill's brief and fiery decade-long painterly oeuvre is truly remarkable.
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Image courtesy: Estate of Umrao Singh Sher-Gil
Deepti Naval Wanted to Make a Biopic on Amrita Shergill
Amrita Sher Gill was Aunt of Jimmy Shergill
She was considered a pioneer in Indian art. Amrita Sher-Gil was born in 1913 on 30 January in Budapest, Hungary, to a Sikh aristocrat Umrao Singh Sher-Gil Majithia who also a scholar of Sanskrit and Persian languages, and a Hungarian-Jewish opera singer Marie Antoniette Gottesmann who hailed from an affluent family.
From Re-take of ‘Amrita’: Digital Photomontages, 2001. Painting by
Amrita Sher-Gil entitled The Bride’s Toilet (1937); photograph of Amrita
Sher-Gil taken at Lake Balaton by Victor Egan (1938).
From Re-take of
‘Amrita’: Digital Photomontages, 2001.
Interior of Sher-Gil
flat at Rue de Bassano, Paris; selfportrait of Umrao
Singh (1930); Amrita
Sher-Gil in party
dress (early 1930s);
painting of Boris
Taslitzky by Amrita
Sher-Gil entitled
Portrait of a Young
Man (1930)
From Re-take of
‘Amrita’: Digital Photomontages, 2001.
From left to right:
Umrao Singh and
Vivan Sundaram as a
child (1946), Indira
Sher-Gil (1933),
Marie Antoinette
Sher-Gil (1912),
Amrita Sher-Gil as
Indian and Hungarian (1938/39).
It was in Paris that Amrita commenced an enduring outline of sexual staking, having affairs with both men and women.
Her painting ‘Three Girls’, 1935, for example, shows three girls passively sitting as if waiting for their future to materialize. The painting has a rural setting; the women are clad in colorful sarees. However, there is hardly any contentment on their faces, emphasizing on the idea that a woman’s life that is considered ‘complete’ in the eyes of the society once she has inhabited the role of the woman in the household with a husband, kids, and the extended family, may not always be happy.
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