The essay scrutinises the individuality of Amrita Sher-Gil paintings by examining various stylistic and personal influences as well as discuss the artist’s progress by analysing three paintings from 1930 to1935. While "Self-Portrait with Easel" (1930) is clearly influenced by Western style, "Self-Portrait as Tahitian" (1934) is already challenging the traditional representation of the female nude. The climax of Sher-Gil’s artistic transition will be discussed in "Hill Women" (1935). Moreover, the paintings are being discussed with the artist’s personal situation and the historical and cultural context in which they were created.
Amrita Sher-Gil’s poems get to the heart of the conflict in the discussion of the artist’s life and work. Although being constantly anguished by her hybrid identity, Sher-Gil desired to represent a new subject matter and a pioneer in modern Indian art with unconventional representations of Non-Western female bodies.
Work completed under the supervision of Dr Mary Kelly (née Healy) in fulfilment of the requirements of the Module HA3016 Intentions in Art: Women’s Art and Gender Theories, University College Cork, 2016.
Table of Contents
- Introduction
- Relevant Background
- Self-Portrait with Easel (1930)
- Self-Portrait as Tahitian (1934)
Objectives and Key Themes
This essay aims to analyze the unique artistic style and personal journey of Amrita Sher-Gil, a pioneering figure in modern Indian art. It examines how Sher-Gil's hybrid identity and the socio-historical context influenced her unconventional depictions of Non-Western female bodies. The analysis focuses on three key paintings from 1930-1935, tracing the artist's artistic evolution and engagement with Western and Indian artistic traditions.
- Amrita Sher-Gil's hybrid identity and its impact on her artistic expression.
- The influence of Western and Indian artistic traditions on Sher-Gil's work.
- Sher-Gil's unconventional representation of the Non-Western female body.
- The evolution of Sher-Gil's artistic style over time.
- The socio-historical context surrounding Sher-Gil's life and work.
Chapter Summaries
Introduction: This introductory section sets the stage for the essay by presenting a poignant quote from one of Amrita Sher-Gil's poems, which encapsulates the central conflict within her life and work—the struggle with her hybrid identity while striving to represent a new artistic vision of the Non-Western female body. It outlines the essay's objective: to analyze Sher-Gil's individuality through stylistic and personal influences, focusing on three paintings (1930-1935) to demonstrate her artistic progression. The introduction highlights the significance of Sher-Gil’s personal situation and the historical and cultural context in her artistic development, mentioning key biographical sources.
Relevant Background: This section establishes the historical, cultural, and personal backdrop of Sher-Gil's artistic production. It highlights the dominance of the classical Western tradition in early 20th-century European art schools while acknowledging the growing fascination with "exotic others" within the Primitivism movement, acknowledging the influence of colonialism. Simultaneously, it notes the rise of interest in indigenous artistic heritage alongside burgeoning nationalism in colonial India, setting the context for Sher-Gil's unique position as a half-Indian, half-Hungarian artist navigating multiple cultural influences.
Self-Portrait with Easel (1930): This section delves into Sher-Gil's 1930 Self-Portrait with Easel, painted during her time in Paris. It discusses the influences of Western artists like Gauguin and Cézanne, but also emphasizes Sher-Gil's engagement with earlier European female artists such as Sofonisba Anguissola and Artemisia Gentileschi, positioning her self-representation within the context of women artists struggling for recognition. By comparing her pose to Dürer's self-portrait, the analysis suggests Sher-Gil's ambition to claim artistic mastery and integrity. The section further explores a possible influence from Frida Kahlo's self-portrait, emphasizing similarities in style and thematic concerns, highlighting the significance of mixed-race identity and shared artistic approaches.
Self-Portrait as Tahitian (1934): This section analyzes Sher-Gil's 1934 Self-Portrait as Tahitian, highlighting a significant shift towards a "Non-Western" representation of the female body. The summary contrasts Sher-Gil's unconventional approach with the established Western tradition's portrayal of the female nude, which often presented women as objects of the "male gaze." By portraying herself as the "exotic other," Sher-Gil subverts this traditional representation and presents a more autonomous and empowered female figure. The discussion will further analyze the stylistic aspects of this work and how it fits into Sher-Gil's broader artistic development.
Keywords
Amrita Sher-Gil, Non-Western female body, hybrid identity, modern Indian art, Western art influence, Self-portraiture, colonialism, nationalism, Primitivism, Orientalism, gender representation, artistic evolution, postcolonial art.
Amrita Sher-Gil: A Study of Artistic Identity and Evolution - FAQ
What is the purpose of this essay?
This essay analyzes the unique artistic style and personal journey of Amrita Sher-Gil, a pioneering figure in modern Indian art. It examines how Sher-Gil's hybrid identity and socio-historical context influenced her unconventional depictions of Non-Western female bodies. The focus is on three key paintings (1930-1935), tracing her artistic evolution and engagement with Western and Indian artistic traditions.
Which paintings are analyzed in this essay?
The essay focuses on three of Amrita Sher-Gil's paintings: Self-Portrait with Easel (1930), and Self-Portrait as Tahitian (1934).
What are the key themes explored in the essay?
Key themes include Amrita Sher-Gil's hybrid identity and its impact on her art; the influence of Western and Indian artistic traditions on her work; her unconventional representation of the Non-Western female body; the evolution of her artistic style; and the socio-historical context of her life and work.
What is the significance of Sher-Gil's hybrid identity?
The essay explores how Sher-Gil's mixed heritage (half-Indian, half-Hungarian) significantly shaped her artistic vision and her negotiation of Western and Indian artistic traditions. Her identity is presented as a central conflict and driving force in her work.
How does the essay analyze Sher-Gil's representation of the female body?
The essay contrasts Sher-Gil's unconventional portrayal of the female body with the established Western tradition. It argues that by portraying herself as the "exotic other," she subverts the traditional "male gaze" and presents a more autonomous and empowered female figure.
What are the influences on Sher-Gil's artistic style?
The essay discusses the influence of Western artists like Gauguin and Cézanne, as well as earlier European female artists such as Sofonisba Anguissola and Artemisia Gentileschi. It also acknowledges the impact of the Primitivism movement and the rise of nationalism in colonial India.
What is the historical context explored in the essay?
The essay examines the historical backdrop of Sher-Gil's artistic production, including the dominance of the classical Western tradition in early 20th-century European art schools, the growing fascination with "exotic others," the influence of colonialism, and the rise of interest in indigenous artistic heritage in colonial India.
What is included in the chapter summaries?
The chapter summaries provide detailed overviews of the introduction, relevant background information on Sher-Gil's life and times, and in-depth analyses of each of the featured paintings, highlighting key artistic and thematic elements.
What keywords are associated with this essay?
Keywords include Amrita Sher-Gil, Non-Western female body, hybrid identity, modern Indian art, Western art influence, Self-portraiture, colonialism, nationalism, Primitivism, Orientalism, gender representation, artistic evolution, and postcolonial art.
- Quote paper
- Christina Haupt (Author), 2016, Amrita Sher-Gil and the representations of non-western female bodies, Munich, GRIN Verlag, https://www.grin.com/document/370260
