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
1. Introduction
2. Relevant Background
3. Self-Portrait with Easel (1930)
4. Self-Portrait as Tahitian (1934)
5. Hill Women (1935)
6. Conclusion
Objectives & Themes
The primary objective of this essay is to scrutinize the development of Amrita Sher-Gil’s artistic style and her evolving representation of the 'Non-Western' female body between 1930 and 1935. By analyzing specific self-portraits and paintings, the work investigates how the artist navigated her hybrid identity, challenged traditional Western representations of women, and sought to define a modern Indian aesthetic through a synthesis of cultural and stylistic influences.
- Examination of Amrita Sher-Gil's stylistic and personal artistic evolution.
- Analysis of hybrid identity and the tension between Western academic influence and Indian cultural context.
- Critical discussion on the representation of the 'Non-Western' female body.
- Evaluation of the influence of historical, cultural, and personal backgrounds on the artist’s work.
- Investigation into the construction of the artist's own iconic persona.
Excerpt from the Book
Self-Portrait with Easel (1930)
The remarkable and yet not much recognised Self-Portrait with Easel (Figure 1) was painted in 1930, the second year of Amrita Sher-Gil’s stay in Paris. During her studies at the École des Beaux Artes Amrita’s art was often described as inspired by contemporary western artists such as Paul Gaugin and Paul Cézanne. Nevertheless, the 1930 Self-Portrait gives proof that she also referred to former European and female artists to claim her status as a woman artist, which will be explained shortly.
In the painting Self-Portrait with Easel, Sher-Gil is both creator and subject by gazing in the mirror, which in this case includes the spectator. She depicts herself in a half-length, ¾ posture in front of an easel. Although there is no other artistic equipment visible and her red cloth seems too elegant for work, she is clearly presenting herself as an artist in a manner which reminds of former western artists. Since Sher-Gil was fascinated and influenced by Renaissance artists, one might compare her to Sofonisba Anguissola and Artemisia Gentileschi who had to claim their status as a painter just like women artists in the early 20th century that were still struggling for recognition.
Chapter Summaries
1. Introduction: This chapter introduces the artist’s personal conflict and hybrid identity, establishing the focus on three specific paintings created between 1930 and 1935.
2. Relevant Background: This section provides the historical and cultural context of early 20th-century art, specifically focusing on the influence of colonialism and the rise of nationalism in India.
3. Self-Portrait with Easel (1930): An analysis of the artist's self-representation, exploring her dialogue with Western art history and her efforts to establish a professional status as a female painter.
4. Self-Portrait as Tahitian (1934): This chapter examines the shift toward a 'Non-Western' approach, discussing how the artist uses her identity to challenge the conventional 'male gaze' in art.
5. Hill Women (1935): The discussion focuses on the influence of Indian traditions and the artist’s aesthetic experimentation, while critically evaluating her self-perception as an interpreter of the poor.
6. Conclusion: The concluding chapter summarizes the artist's progress, highlighting the synthesis of Western tradition and Indian spirit within her unique body of work.
Keywords
Amrita Sher-Gil, Hybrid Identity, Non-Western Female Body, Self-Portrait, Colonialism, Nationalism, Modern Indian Art, Renaissance Influence, Artistic Progression, Male Gaze, Cultural Synthesis, Tristesse, Avant-Garde, Women Artists, Representation.
Frequently Asked Questions
What is the central focus of this research paper?
The paper examines the artistic journey of Amrita Sher-Gil between 1930 and 1935, specifically looking at how she represented the 'Non-Western' female body and navigated her own hybrid cultural identity.
Which specific themes are covered in the work?
The key themes include the artist's stylistic progression, the influence of Western tradition versus Indian nationalist art, the concept of the 'exotic other,' and the construction of the artist's own iconic identity.
What is the primary research aim of this study?
The study aims to analyze how Sher-Gil moved from Western-influenced painting styles to a more distinct 'Non-Western' aesthetic through an evaluation of three key paintings.
Which methodology does the author use?
The author employs visual analysis, historical context research, and comparative study of artworks to interpret the artist's stylistic choices and personal narrative.
What topics are discussed in the main body of the paper?
The main body focuses on a critical reading of three specific works: 'Self-Portrait with Easel,' 'Self-Portrait as Tahitian,' and 'Hill Women,' alongside an evaluation of the cultural context of the era.
Which keywords best characterize the paper?
The work is defined by concepts such as hybridity, artistic representation, the female body, colonial legacies, and the development of modern Indian art.
How does the author characterize Sher-Gil's 'self-chosen' role?
The author questions the validity of Sher-Gil's claim as an 'interpreter of the poor,' suggesting it reflects her own emotions and melancholic projection rather than a genuine lived connection to the peasantry.
What is the significance of the 'Non-Western' body in the artist's work?
It represents the artist's attempt to break away from established classical Western norms and the 'male gaze,' allowing for a more subjective and culturally nuanced portrayal of the female form.
- Quote paper
- Christina Haupt (Author), 2016, Amrita Sher-Gil and the representations of non-western female bodies, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/370260
