Drawing Room: Varad Bang reflects upon Amrita Sher-gil’s portrait
Playing with lighting and layering, a young Amrita Sher-Gil depicted herself as bold, mischievous, and enigmatic - all at once
“Europe belongs to Picasso, Matisse, Braque, and many others. India belongs only to me.” Artist Amrita Sher-Gil’s statement dates back to 1938, when she was just 25 years old. She’d spent her childhood in Hungary, and had been accepted into the prestigious École Nationale des Beaux-Arts in Paris at age 16.
In turn, Sher-Gil’s India is hers alone. She’d studied Western art techniques of impressionism and post-impressionism, which leant her work a distinctive European touch. And yet, so much of what she painted dealt with the India she saw and knew.
I studied in Europe too, so I relate to the way she approached her work. Sher-Gil was adept at playing with warm and cool temperatures to create space and atmosphere. She would keep the background and clothing muted so the viewer could focus on the subject, like European masters of art had done for centuries. It’s evident even in her self-portraits, like this one, which she painted in 1933, when she was just 19.
Sher-Gil depicts herself smiling, while making eye contact with the viewer. A viewer is drawn to her gaze in a personal and intimate way. The work emphasises the smoothness of her skin, the depth in her eyes, the fullness of her bold red lips. Her expression remains soft and engaging, even playful. The bright red of her mouth against the warm tones of her skin and muted backdrop, become the focal point of the painting.
It’s amazing to see Sher-Gil’s tremendous development as an artist at such a young age. The soft lighting accentuates the high points of her face, casting delicate shadows along her neck and hair. This distinctive layering technique adds volume and dimension, imbuing the portrait with life. Her clothing, dark in colour, is painted with intricate patterns for which she clearly used subtle brushstrokes, showcasing the technical side of her artistic studies in the West.
I was 20 when I first saw her work at the National Gallery of Modern Art, Delhi in 2019. It was my first real interaction with fine art, and I was so drawn to Sher-Gil’s work that I began researching her life and work. She seemed to come alive through her paintings. Her enigmatic smile, mischievous gaze, and bright red lips made one want to kiss them! It also made me want to create art that the viewer could emotionally connect with.
Sher-Gil’s decision to paint herself with red lips, bold eyebrows and a come-hither pose reflects her self-confidence and adoption of a modern lifestyle in Paris at a time when most women, especially those of Indian origin, had no exposure or artistic outlet to express themselves. This ability to lay her personality bare through her art inspires me. She isn’t afraid to showcase her individuality, which inspires me to express myself through my work without hesitation.
Sher-Gil’s work also reminds me of Raja Ravi Varma’s paintings, which relied on European techniques to bring Indian subjects to life. She seems to have found the perfect balance between her European training and her Indian roots.
Varad Bang is a figurative painter whose work focuses on desire, loneliness, companionship and the complexities of modern urban life.
