An artist? A dreamer? A rebel? Who exactly was Amrita Sher-Gil? She was a little bit of all these things, really. Amrita grew up with a great sense of mischief and adventure in two very different worlds, in a village near Budapest, Hungary, and among the cool, green hills of colonial Simla. She defied headmistresses, teachers, art critics and royalty to make her own determined way in the world of grown-ups and art.Join her on a journey through her life, a journey that takes her family through World Wars and political turmoil as they travel in pursuit of love, a home and a modern, artistic education for Amrita!

Beautiful and brilliant, Amrita Sher-Gil lived life on her own terms, scandalizing the staid society of her times with her love affairs and unconventional ways. In this fascinating biography, art historian Yashodhara Dalmia paints a compelling portrait of the artist who, when she died in 1941 at the age of twenty-eight, left behind a body of work that establishes her as one of the foremost artists of the century and an eloquent symbol of the fusion between the East and the West

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

On life and work of Indian painter, Amrita Sher Gil, 1913-1941.

The purpose of art, the Paris-trained artist Amrita Sher-Gil wrote in 1936, is to "create the forms of the future” by “draw[ing] its inspiration from the present.” Through art, new worlds can be imagined into existence as artists cultivate forms of belonging and networks of association that oppose colonialist and nationalist norms. Drawing on Edward Said’s notion of “affiliation” as a critical and cultural imperative against empire and nation-state, Worldly Affiliations traces the emergence of a national art world in twentieth-century India and emphasizes its cosmopolitan ambitions and orientations. Sonal Khullar focuses on four major Indian artists—Sher-Gil, Maqbool Fida Husain, K. G. Subramanyan, and Bhupen Khakhar—situating their careers within national and global histories of modernism and modernity. Through a close analysis of original artwork, archival materials, artists’ writing, and period criticism, Khullar provides a vivid historical account of the state and stakes of artistic practice in India from the late colonial through postcolonial periods. She discusses the shifting terms of Indian artists’ engagement with the West—an urgent yet fraught project in the wake of British colonialism—and to a lesser extent with African and Latin American cultural movements such as Négritude and Mexican muralism. Written in a lucid and engaging style, this book links artistic developments in India to newly emerging histories of modern art in Asia, Africa, and Latin America. Drawing on original research in the twenty-first-century art world, Khullar shows the persistence of modernism in contemporary art from India and compares its function to Walter Benjamin’s ruin. In the work of contemporary artists from India, modernism is the ground from which to imagine futures. This richly illustrated study juxtaposes little-known, rarely seen, or previously unpublished works of modern and contemporary art with historical works, popular or mass-reproduced images, and documentary photographs. Its innovative art program renders newly visible the aesthetic and political achievements of Indian modernism.

Photographs chiefly of the family and life of Umrao Singh Sher-Gil, 1870-1954 in India, Hungary, and France which have been taken by Sher-Gil himself.