225:, which measures 164 cm Ă— 133 cm (65 in Ă— 52 in). Set in an affluent home, it depicts two similarly aged women sat on chairs in close proximity. The dark woman, modelled by Sher-Gil's sister Indira, is positioned upright and appears to have a smirk. Her attire is western and neat, and her hair combed back. In the foreground is a tabletop, and Indira has a plate of cherries on her lap. The light skin woman, modelled by a friend, Denise Proutaux, is slouched, with her blonde hair partially covering a naked breast. Her right foot is shown bare. They face each other, appearing to be in conversation. There is a half-closed cupboard in the background.
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408:(2022) points to the significance of the contrasting postures of the girls; "while the French woman is casually careless and relaxed, Indira is sitting cross-legged, neat, and proper in her manner. It is often implied that the two postures and identities reflect on the artist’s own divided self, and, possibly, colonial relationships, even sexual ambiguity". After Sher-Gil's death, Rahim pointed out that Sher-Gil herself did not think much of the painting.
29:
344:'s biography of Sher-Gil, she sees the two women as two different aspects of Sher-Gil herself. Dalmia asks "could the two girls represent facets of Amrita's own persona?" She notes in general that Sher-Gil's paintings in Paris followed a search for her European-Indian identity, in addition to following her Paris school academic teachings. In
248:, to which she responded to her cousin and later husband Victor, in a letter dated February 1933, that "I will be myself". Another former teacher viewed it as one of the best at the Salon, to which she told Victor that that "is not difficult". Sher-Gil was typically one of her own critics. That month also saw the
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would expand on this theme, and her portraits of women close to each other would also become a recurring theme. Dalmia would quote in her book that Rahim's response was that "the picture as a whole is captivating. Nothing betrays the fact that the picture is the work of a girl of 19. It is powerful,
228:
In 1942, Esmet Rahim (a painter and friend of Sher-Gil) described the painting as "an interior scene, depicting two young women sitting casually in a room, they are not doing anything interesting, they are not made to look pretty or intriguing, they are just two young girls, one fair and one dark".
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earned her the Salon's gold medal, making her the first Asian to be awarded it. The institution made her an associate, allowing her to exhibit two paintings every year without the need for a jury. In May 1933, Sher-Gil wrote to Victor that "I have been selected as an extraordinary member of the
190:. He encouraged her to carefully observe the reality around her and transfer it to her work, particularly using live models. In 1929, at the suggestion of Baktay, the family moved to Paris so that Sher-Gil could study art; she was then 16 years and was admitted at first to the
348:, Dalmia interprets "the strict upright pose of the dark woman" as equally "matched by the abandon of the fair-haired woman", saying that "the dark, oriental woman in a position of equality with the white woman, sharing her privileges with elan." Sher-Gil's later painting
362:
that the painting is "complex", with the portrayal of "a brown and a white woman together in their nudity ambiguously, as possible lovers, or, in an alternative reading, as a form of self-portraiture that projected her own racially divided self".
152:. Set in an affluent home, it depicts two women in close conversation modelled on her sister and a friend. The dark woman is positioned upright and the light skin woman is slouched, with her blonde hair partially covering a naked breast.
689:
535:"Young Girls" (it now hangs in the National Art Gallery in Jaipur House in New Delhi). This picture was adjudged to be the "Picture of the Year". "Young Girls" led to her being elected as an Associate of the Grand Salon.
278:, Sher-Gil clarifies that the painting earned her the position of associate at the Salon and says that it "was declared Picture of the Year". In 1933 there were several pictures of the year at Paris;
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202:, completed in 1932 at the age of 19. Two years later she would return to India where her style of painting would concentrate on painting Indians.
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Several commentators have seen the painting as reflecting Sher-Gil's divided identity: Indian, European, colonial subject, and female.
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690:"Celebrated painter Amrita Sher-Gil: "Europe belongs to Picasso, Matisse, Braque and many others. India belongs only to me""
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in 1976 and 1979, named Sher-Gil's works as Indian treasure that if sold in India, cannot leave the country.
244:, one year after Sher-Gil exhibited her first painting there. One of Sher-Gil's tutors had compared her with
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and earned Sher-Gil an associate membership of that institution. It is a national art treasure under India's
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the family moved to Simla, India, where she spent her early teens. There, she was influenced by her uncle,
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The Mirror and the
Palette: Rebellion, Revolution and Resilience: 500 Years of Women's Self-Portraits
174:(1913–1941), was born in Hungary to an Indian aristocrat and his artistic Hungarian wife. After the
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reflects Sher-Gil's sexuality and the different aspects of her personality. A review in the
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390:(2021) called the painting a work of "outstanding insight and technique". Art historian
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340:, who curated several Sher-Gil exhibitions, sees the painting as "east meets west". In
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Several commentators have seen the painting as reflecting Sher-Gil's divided identity.
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586:"On Amrita Sher-Gil's birth anniversary, a closer look at the women in her paintings"
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909:"8. Amrita Sher-Gil: the Indian painter and her French and Hungarian connections"
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Artistic
Circles: The Inspiring Connections Between the World's Greatest Artists
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198:. Between 1930 and 1932, in Paris, she created over 60 oil paintings, including
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Salon. However, I don't think very highly of them - they are very - haughty".
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The
Protection of Movable Cultural Property: Compendium of Legislative Texts
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was "picture of the year". This was reiterated by biographer of Sher-Gil,
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164 cm Ă— 133 cm (65 in Ă— 52 in)
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On This Day She: Putting Women Back Into
History One Day at a Time
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754:
Amrita Sher-Gil: An Indian Artist Family of the
Twentieth Century
1080:"4. Amrita Sher-Gil: a genuine artist - striving for excellence"
813:"Amrita Sher-Gil: The painter whose greatest critic was herself"
380:(2017) describes the painting as having a "mysterious tension".
1259:
939:"Review of Still looking for Amrita: Amrita Sher-Gil: A Life"
622:"Amalgamation of East and West in the Art of Amrita Sher-Gil"
1189:. Vol. 2. New Delhi: Tulika Books. pp. 418–821.
1141:. Lanham, Maryland: Rowman & Littlefield. p. 33.
316:. Abdul Khan Hamid, the notable art critic and brother of
1187:
Amrita Sher-Gil: A Self-Portrait in
Letters and Writings
1170:. Vol. 1. New Delhi: Tulika Books. pp. 1–417.
1168:
Amrita Sher-Gil: A Self-Portrait in
Letters and Writings
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in 1932 in Paris. It was awarded a gold medal at the
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981:. The Centre for Public Art History. Archived from
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1133:Bell, Jo; Hershman, Tania; Holland, Ailsa (2022).
1006:"A Retake of Sher-Gil's Self-Portrait as Tahitian"
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140:As a child, Sher-Gil was encouraged by her uncle,
424:to regulate the internal and external dealing in
167:Amrita Sher-Gil with 3 of her paintings in Paris
1084:Amrita Sher-Gil: Art & Life : a reader
913:Amrita Sher-Gil: Art & Life : a reader
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725:Amrita Sher-Gil: Art & Life : a reader
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979:"Amrita Sher-Gil, Self-Portrait as a Tahitian"
721:"5. Amrita Sher-Gil and the east-west dilemma"
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896:(1). New Delhi: All India Radio (AIR): 11–12.
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915:. Oxford University Press. pp. 99–101.
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663:Incarnations: A History of India in 50 Lives
377:Incarnations: A History of India in 50 Lives
869:"Art in Paris: some pictures of the year".
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358:Art historian, Saloni Mathur, agrees with
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626:Journal of International Women's Studies
418:Antiquities and Art Treasures Act (1972)
412:Antiquities and Art Treasures Act (1972)
405:Journal of International Women's Studies
127:Antiquities and Art Treasures Act (1972)
1086:. Oxford University Press. p. 32.
727:. Oxford University Press. p. 37.
465:
262:that Sher-Gil felt was far superior to
1419:South Indian Villagers going to Market
884:Hamid, Agha Abdul (22 December 1941).
1477:Amrita Sher-Gil's paintings at Lahore
811:Connelly, Charlie (2 December 2021).
444:, New Delhi, and must stay in India.
7:
511:India International Centre Quarterly
454:List of paintings by Amrita Sher-Gil
1135:"30 January : Amrita Sher-Gil"
584:Bhandari, Parul (30 January 2021).
632:(3). Bridgewater State University.
355:almost masculine in its vigour."
14:
659:"36. Amrita Sher-Gil: this is me"
1057:. Frances Lincoln. p. 117.
977:Zahra, Orin (8 September 2022).
420:, formed in accordance with the
16:1932 painting by Amrita Sher-Gil
1082:. In Dalmia, Yashodhara (ed.).
911:. In Dalmia, Yashodhara (ed.).
723:. In Dalmia, Yashodhara (ed.).
696:. 24 March 2016. Archived from
192:Académie de la Grande Chaumière
620:Priyanka, Prachi (July 2022).
438:National Gallery of Modern Art
430:Archaeological Survey of India
131:National Gallery of Modern Art
76:National Gallery of Modern Art
1:
1315:Amrita Sher-Gil Self Portrait
1307:Amrita Sher-Gil Self-Portrait
1112:. Unesco. 1984. p. 167.
1004:Mathur, Saloni (March 2011).
757:. Schirmer/Mosel. p. 7.
274:In her own account in a 1937
1526:Paintings by Amrita Sher-Gil
886:"The art of Amrita Sher-Gil"
1371:Self-Portrait as a Tahitian
1210:. Gurugram: Penguin Books.
1204:Dalmia, Yashodhara (2013).
873:. 13 May 1933. p. 252.
719:Subramanyan, K. G. (2014).
240:earned a place at the 1933
1542:
284:newspaper (1933) included
276:The Indian Ladies Magazine
184:Nagybánya artistic methods
848:. Hachette. p. 190.
842:Higgie, Jennifer (2021).
332:Interpretation and legacy
314:Madeleine Weill-Lestienne
26:
1185:Sundaram, Vivan (2010).
1166:Sundaram, Vivan (2010).
907:KeserĂĽ, Katalin (2014).
657:Khilnani, Sunil (2017).
182:, who introduced her to
1363:The Little Girl in Blue
1207:Amrita Sher-Gil: A Life
751:Ananth, Deepak (2007).
503:Singh, N Iqbal (1975).
320:, noted that that year
300:by M. Philippe Ledoux,
258:, a portrait of a nude
1078:Rahim, Esther (2014).
665:. Random House India.
422:UNESCO 1970 Convention
168:
1331:Young Man with Apples
1051:Hodge, Susie (2021).
798:Sundaram, pp. 319-327
166:
129:, and is held at the
1494:Umrao Singh Sher-Gil
936:Naved, Shad (2006).
394:, wrote in her book
117:painting created by
1243:on 11 November 2023
985:on 11 November 2023
890:The Indian Listener
823:on 11 November 2023
700:on 11 November 2023
647:Dalmia, pp. 144-154
596:on 18 November 2023
196:Beaux-Arts de Paris
148:, when she painted
146:Beaux-Arts de Paris
90:Government of India
1516:Paintings of women
1339:Professional Model
306:Jane Chaueur-Ozeel
290:Mrs Claude Chauvin
255:Professional Model
188:plein air painting
169:
100:Professional Model
1503:
1502:
1443:The Village Scene
1301:List of paintings
1233:"Amrita Sher-Gil"
1217:978-0-14-342026-2
1196:978-81-89487-59-1
1177:978-81-89487-59-1
1148:978-1-5381-6457-0
1119:978-92-3-101638-7
1093:978-0-19-809886-7
1064:978-0-7112-5586-9
922:978-0-19-809886-7
855:978-1-4746-1380-4
764:978-3-8295-0270-2
734:978-0-19-809886-7
672:978-93-85990-95-3
574:Dalmia, pp. 59-75
565:Dalmia, pp. 26-44
506:"Amrita Sher-Gil"
486:Dalmia, pp. 17-25
436:is housed at the
342:Yashodhara Dalmia
215:portrait painting
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1451:Woman on Charpoy
1427:The Story Teller
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387:The New European
382:Charlie Connelly
310:La Convalescence
302:Vocation Précoce
123:1933 Paris Salon
95:Followed by
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176:First World War
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1470:Exhibitions
1459:On the Roof
1387:Three Girls
1323:Young Girls
1247:11 November
989:11 November
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704:11 November
694:Vogue India
600:18 November
434:Young Girls
426:antiquities
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366:Vogue India
346:Young Girls
322:Young Girls
268:Young Girls
264:Young Girls
260:consumptive
242:Paris Salon
238:Young Girls
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206:Description
200:Young Girls
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82:, New Delhi
22:Young Girls
1510:Categories
1395:Child Wife
1379:Hill Women
871:The Sphere
460:References
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250:vernissage
159:Background
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590:Scroll.in
523:0376-9771
351:Two Girls
233:Reception
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448:See also
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213:is a
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1249:2023
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