Amrita Sher-Gil with her 1930 paintings (left to right: Boris Taslitzky, Self-Portrait with Easel, Self Portrait

This is a list of paintings by Hungarian-born Indian artist Amrita Sher-Gil (1913 – 1941).[1] Over 60 of her paintings, of which most were portraits and self-portraits, were created between 1930 and 1932.[2] 19 were self-portraits painted in Europe between 1930 and 1934, and two, including one in a blue sari, were later completed in India.[3] Several of her paintings were of nudes; some of herself and others based on models of which all but one were female.[4]

In her early years, Sher-Gil worked at the École des Beaux-Arts, Paris, and won awards at the annual competitions for portrait and still life for three years in a row.[5] In the summer of 1932, Sher-Gil submitted six paintings to the "end of year concours", Paris, for which she received second mention in her capacity as foreigner.[6] The six included Violins, Nude Self-Portrait with Palette, and Young Girls.[6] In her words, "my work in those days was absolutely Western in conception and execution except for the fact that it was never entirely tame or conventional".[5]

Sher-Gil later wrote that "towards the end of 1933 I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter".[5] She subsequently painted Self-Portrait as a Tahitian in early 1934, while still in Paris.[7][lower-alpha 1] Upon arriving India in late 1934, produced The Little Girl in Blue.[8] In 1937, she painted what she called her plein-air series; created outdoors, away from a studio, and included her first paintings with animals.[9] These included The Story Teller.[9] 33 of Sher-Gil's works were displayed at her solo exhibition at Faletti's Hotel in Lahore, British India, held from 21 to 27 November 1937.[10] These included her first two compositions, The Story Teller and Siesta.[11] At Lahore, four paintings were sold in total; The Little Girl in Blue, The Story Teller, Pink Self-portrait, and the Vina Player.[12] "with the eternal significance of form and colour I interpret India and, principally, the life of the Indian poor on the plane that transcends the plane of mere sentimental interest".[5]

In 1938 five of her paintings were exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi, and included Elephants Bathing in a Green Pool (1938), Composition (1936), and View from Studio (1934), which won the prize.[13] In 1938, Sher-Gil married [Viktor Egan]] in Hungary, and there painted Two Girls among others. Returning to India in 1939, she moved to Saraya, Uttar Pradesh, and there her creations included Woman on Charpoy, Elephant Promenade, The Ancient Story Teller, Haldi Grinders.[14][15]

In 1940, six of her works were displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]

Under India's Antiquities and Art Treasures Act (1972), formed in accordance with the UNESCO 1970 Convention to regulate the internal and external dealing in antiquities in India, the Archaeological Survey of India in 1976 and 1979, named Sher-Gil's works as Indian treasure that if sold in India, cannot leave the country.[16] Of the at least 143 listed paintings created by Sher-Gil, most are held by her relatives, and 44 of the 45 paintings that belonged to Viktor Egan and some paintings that were with her father, were donated to the National Gallery of Modern Art, New Delhi.[17]

Paintings (1930)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1930:
Old Man with Beard		 Unknown[1] Painted at La Baule, France[1]
1930:
Brown Girl		 Unknown[1]
1930:
Male Torso		 New Delhi, National Gallery of Modern Art 62 × 94 cm
Oil on canvas[1]
1930:
Sitting Nude		 New Delhi, National Gallery of Modern Art 66 × 91.5 cm
Oil on canvas[1]
1930:
Young Girl in Profile		 Unknown[1]
1930:
Portrait of Mother		 Private[18] 49 × 65 cm
Oil on canvas[18]
1930:
Portrait of My Sister		 Private[18] 55.8 × 78.7 cm
Oil on canvas[18]
1930:
Self-portrait with easel		 Private Collection[19] 82.5× 90.5 cm
Oil on canvas[19]		 Painted in Paris, it depicts a three-quarter Sher-Gil draped in red, in front of an easel.[7]
1930:
Amrita Sher-Gil self portrait		 New Delhi, National Gallery of Modern Art 47.4 × 70.2 cm
Oil on canvas[18]		 Depicts Sher-Gil with a shoulderless dress and loose hair.[20][21]
1930:
Self-Portrait with Red Background		 Private[18] 57 × 90 cm
Oil on canvas[18]		 Painted in Paris.[22]
1930:
Boris Taslitzky		 One of three portraits Sher-Gil completed of Boris Taslitzky.
1930:
Portrait of a Young Man		 New Delhi, National Gallery of Modern Art 61.5 × 74.3 cm
Oil on canvas[23]		 One of three portraits Sher-Gil completed of Boris Taslitzky in Paris.[24]
1930:
Madam Taslitsky		 New Delhi, National Gallery of Modern Art 54 × 79 cm
Oil on canvas[23]		 Portrait of Boris' mother, painted in Paris.[24]

Mme Taslitsky later died in a concentration camp.[24]

Paintings (1931)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1931:
Yusuf Ali Khan		 New Delhi, National Gallery of Modern Art 45 × 53 cm
Oil on canvas[23]		 At the encouragement of her mother, Sher-Gil was briefly engaged to aristocrat Yusuf Ali Khan, and painted his portrait in Paris.[25]
1931:
Amrita Sher-Gil self portrait		 Private collection 65.1 × 54 cm
Oil on canvas		 Completed in Paris. In 2015 it was sold for £1.7 million at auction in London.[26][lower-alpha 2]
1931:
Alfred Cortot		 New Delhi, National Gallery of Modern Art 44 × 30 cm
Pastel on paper		 Depicts Alfred Cortot[27]
1931:
Portrait of a Young Woman		 New Delhi, National Gallery of Modern Art 32 × 42.5 cm
Oil on canvas[28]
1931:
Victor Egan		 Egan refers to this portrait as "a stupid picture of me".[29]
1931:
Violins		 New Delhi, National Gallery of Modern Art 59 × 82 cm
Oil on canvas[28]		 One of six paintings submitted to the "end of year concours" in summer 1932.[6]
1931:
Woman in Blue Coat		 Private[19] 48 × 66 cm
Oil on canvas[19]
1931:
Girl in Mauve		 New Delhi, National Gallery of Modern Art 36 × 53.7 cm
Oil on canvas[19]		 Painted in Paris.[19]

Paintings (1932)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1932:
Adam and Eve		 New Delhi, National Gallery of Modern Art 38.7 × 52.1 cm
Oil on canvas[30]
1932:
Still Life with Green Bottles and Apples		 Private collection[28] 37 × 54.5 cm
Oil on canvas[28]		 Painted in Paris.[28]
1932:
Nude Self-Portrait with Palette		 Whereabouts unknown[6] Possibly "my nude" that Sher-Gil submitted to the "end of year concours" in summer 1932.[6]
1932:
Self-Portrait with a Smile		 Private collection[1] 45 × 32 cm
Oil on canvas		 [31]
1932:
Self-Portrait in Green		 Private collection[19] 64.8 × 90 cm
Oil on canvas[19]		 Completed in Paris around June 1932, and described by Sher-Gil as "a very good self-portrait".[4]
1932:
Department Store		 New Delhi, National Gallery of Modern Art 49.5 × 62 cm
Oil on canvas[30]		 Likely the store called Printemps that she took a sketch of in June 1932.[32]
1932:
The Blue Danube		 Unknown[18] Painted in Hungary.[30]
1932:
Hungarian Gypsy Girl		 New Delhi, National Gallery of Modern Art 81.3 × 52.7 cm
Oil on canvas[30]		 One of two paintings of the same girl who posed for Sher-Gil in old clothes, completed in the summer of 1932 in Zebegény.[6]
1932:
Gypsy Girl from Zebegény		 Private collection[23] 41 × 62 cm
Oil on canvas[23]		 One of two paintings of the same girl who posed for Sher-Gil in old clothes, completed in the summer of 1932 in Zebegény.[6]
1932:
Two Children on a Hillside		 On 2 August 1932, after completing the Gypsy Girls, Sher-Gil began a large painting of two poor girls in Zebegény.[6]

Sher-Gil wrote to her parents in the summer of 1934 requesting they sell "the two little girls I painted in Zebegény, which I hate".[33]

In January 1937, she mentions selling the "picture of the two children on a hillside I had painted in Zebegény".[34]

It is possibly the "small rotten painting" she describes as sold at the Hyderabad exhibition for ₹250 in December 1936.[34]

1932:
Notre Dame		 59.5 × 81 cm
Oil on canvas[30]		 This was being created in June 1932, in Paris.[6]
1932:
Klarra Szepessy		 53.5 × 99.5 cm
Oil on canvas[23]		 Portrait of Sher-Gil's mother's younger sister.[35]
1932:
Portrait of Denise Prouteaux		 [36]
1932:
My Grandmother		 New Delhi, National Gallery of Modern Art 46 × 63.5 cm
Oil on canvas		 Portrait of Antonia Grottesmann née Martonfalvy (1864-1937), painted in Hungary.[29]
1932:
Young Man with Apples		 New Delhi, National Gallery of Modern Art 71 × 97 cm
Oil on canvas[23]		 One of three portraits Sher-Gil completed of Boris Taslitzky,[24] this was exhibited at the XII Salon des Tuileries in 1934.[37][38]

Number 25 of 33 of Sher-Gil's works displayed at her solo exhibition at Faletti's Hotel in Lahore, British India, held from 21 to 27 November 1937.[10] There, it was priced at ₹500.[10]

1932:
Young Girls		 New Delhi, National Gallery of Modern Art 133 × 164 cm
Oil on canvas[30]		 Painted in June 1932.[8]

One of six paintings submitted to the "end of year concours" in summer 1932.[6]

Earned Sher-Gil the appointment of associate member of the 1933 Paris Salon.[2]

1932:
Marie-Louise Chassanay		 New Delhi, National Gallery of Modern Art 66.5 × 94.5 cm
Oil on canvas[23]		 [39]
1932:
Male Torso
1932:
Sitting Nude		 [6]
1932:
Viola Egan		 Private collection[23] Painted in Hungary[23]
1932:
Girls in Conversation		 Private[30] 82 × 53 cm
Oil on canvas[23]

Paintings (1933)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1933:
Open Air Painters		 New Delhi, National Gallery of Modern Art 53 × 84 cm
Oil on canvas[40]
1933:
The Girl in Black		 Unknown[40] Painted in Paris[40]

This was cut of a large unfinished painting depicting Sher-Gil, Indira, Denise Prouteaux, and a nude model, and gifted to Denise.[41]

According to Prouteaux, it was taken by a German officer during the occupation of Paris.[41][42]

1933:
Spanish Girl		 59 × 91.5 cm
Oil on canvas[40]
1933:
Sleep		 New Delhi, National Gallery of Modern Art 112.5 × 79.1 cm
Oil on canvas[40]		 Painted in Paris 1932-1933, it depicts Sher-Gil's sister Indira.[6][43]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,000, but did not sell.[10]

It was later left with the Indian National Congressman and her friend Diwan Chaman Lall "to see if he could palm it off on someone but he wasn't successful".[44]

1933:
Reclining Nude		 New Delhi, National Gallery of Modern Art 70.7 × 93.5 cm
Oil on canvas[40]		 Completed in Budapest, it depicts Sher-Gil's cousin Viola, sister of her husband Victor Egan.[42][45]
1933:
Professional Model		 New Delhi, National Gallery of Modern Art 72× 100 cm
Oil on canvas[40]		 Created in 1933 in Paris and depicts a nude consumptive. Its vernissage took place in February 1933.[46]

Displayed at the 1937 exhibition in Lahore.[10]

Paintings (1934)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1934:
Model in Green		 Created in 1934 in Paris and modelled on the same nude as in Professional Model.[47]
1934:
Self-portrait with long hair		 Private collection[40] 35.5× 45.7 cm
Oil on canvas[40]		 Painted in Paris[40]
1934:
Model in Brown		 Created in 1934 in Paris and modelled on the same nude as in Professional Model.[47]
1934:
View from Studio		 Private collection[40] 42 × 45.6 cm
Oil on canvas[40]		 In 1938, at the All India Fine Arts and Crafts Society's exhibition in Delhi, it was awarded best picture in oils and gold medal for best picture by a female artist.[13] In Sher-Gil's opinion it was the "weakest" of the five paintings she submitted.[13]
1934:
Self-Portrait as a Tahitian		 Delhi, Kiran Nadar Museum of Art 90 × 56 cm
Oil on canvas		 [48]
1934:
The Little Girl in Blue		 India, private collection 48 × 40.6 cm
Oil on canvas[49]		 One of Sher-Gil's earliest paintings upon returning to India in 1934.[50]

Displayed at the 1937 exhibition in Lahore, with a sale price of ₹150, and bought by Charles Fabri.[10]

Sold by auction in 2018 for ₹18.69 crore, equivalent to $2.67 million.[21][51]

1934:
View from Majitha House		 Payal and Rajiv Chaudhri, New York[52] 33× 23 cm
Oil on canvas[52]		 Painted in December 1934[49]

Paintings (1935)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1935:
Three Girls		 New Delhi, National Gallery of Modern Art 92.8 × 66.5 cm
Oil on canvas[52]		 Completed on 1 January 1935.[8]

Sher-Gil wrote to her mother on 1 January 1935 "Today I finished the painting of Mahindra's three daughters. It is excellent".[53]

Also called Group of Young Girls, it was displayed at the 1937 exhibition in Lahore for a price of ₹700.[10][54]

1935:
Portrait of Malcolm Muggeridge		 Sikander Rahim, Pakistan[49] Painted at Simla.[49]
1935:
Malcolm Muggeridge		 New Delhi, National Gallery of Modern Art[49] 59.5 × 94 cm
Oil on canvas		 Painted at Simla.[49]
1935:
Beggars		 Private[49] 59 × 84 cm
Oil on canvas[49]
1935:
Woman with Fan		 New Delhi, National Gallery of Modern Art 59 × 82.5 cm
Oil on canvas[52]		 Painted in July 1935 at Mashobra, Simla, modelled on Prakash, Umrao Singh's daughter by his first marriage.[55]

Sher-Gil possibly later made alterations to the face.[17]

1935:
Hill Women		 89 × 147.3 cm
Oil on canvas[49]		 Painted in November 1935 at Simla.[49]

Exhibited at the Paris Salon in 1936 and then at Hyderabad for a price of ₹2,500, where it was admired by Sarojini Naidu, who tried to persuade the Museum of Hyderabad to acquire the painting.[34]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,500.[10]

1935:
Hill Men		 89× 148.5 cm
Oil on canvas[49]		 Painted in December 1935.[49]
1935:
Woman on Terrace		 Private collection[52] 73.6 × 99 cm
Oil on canvas[52]		 Painted in February 1935 at Majitha House, Amritsar, and modelled on Mohindra's maid Guro.[56]

Displayed at the 1937 exhibition in Lahore for a price of ₹500.[10]

1935:
Boys with Lemons		 Private collection[52] 56 × 90 cm
Oil on canvas[52]		 Painted at Simla.[52]
1935:
Mother India		 New Delhi, National Gallery of Modern Art 62 × 78 cm
Oil on canvas		 Painted in May/June 1935 at Simla.[8][57] Displayed at the 1937 exhibition in Lahore for a price of ₹500.[10]
1935:
Portrait of Father		 60 × 91.5 cm
Oil on canvas		 Painted in May/June 1935 at Simla.[8][57]

Displayed at the 1937 exhibition in Lahore for a price of ₹500.[10]

1935:
Man in White		 Painted at Simla and modelled on Prem Chand (1911-1995).[57]

Displayed at the 1937 exhibition in Lahore for a price of ₹350.[10]

1935:
Nude Group		 New Delhi, National Gallery of Modern Art 81.3 × 114.3 cm
Oil on canvas[52]		 In the foreground is Sumair Kaur.[58]
1935:
Two Women		 New Delhi, National Gallery of Modern Art 74 × 100 cm
Oil on canvas[52]		 Painted at Saraya.[52]

Paintings (1936)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1936:
Raja Surat Singh		 Private[59] 48.5 × 74 cm
Oil on canvas[59]		 Painted in February 1936 at Saraya.[59]
1936:
Portrait of Girl with Flower		 Private[59] 30 × 40 cm
Oil on canvas[59]		 Painted in March 1936 at Saraya.[59]
1936:
The Little Untouchable		 Unknown[59] Painted in March 1936 at Saraya.[59]
1936:
Child Wife		 Private[59] 53 × 76 cm
Oil on canvas[59]		 Painted in March 1936 at Saraya.[59]
1936:
Sunder Singh		 Private[59] 50.8 × 64.7 cm
Oil on canvas[59]		 Painted in March 1936 at Saraya[59]
1936:
Portrait of Joji		 Private[59] 64.7 × 92.7 cm
Oil on canvas[59]		 Painted in March 1936 at Saraya[59]

Depicts Joji, Jagjeevan/Gurjeevan (1913-2005), daughter of Kirpal Singh Majitha.[60]

Sher-Gil wrote to her mother on 10 February 1936 that "I shall grudgingly paint her to her advantage so that she likes her image, and maybe she will purchase my painting".[60]

1936:
Portrait of Sister		 Private[59] 62 × 92.7 cm
Oil on canvas[59]		 Painted at Simla.[59]
1936:
Sumair		 New Delhi, National Gallery of Modern Art 54 × 89 cm
Oil on canvas[61]		 Portrait of Sumair Kaur, daughter of Umrao Singh's first son, Balram.[58][lower-alpha 3]
1936:
Woman in Red		 Seeta Badrinath, Chennai[59] 53 × 89 cm
Oil on canvas[59]		 Painted at Simla.[59]
1936:
Composition		 Private[59] 68.5 × 91.4 cm
Oil on canvas[59]		 Depicts a water jar in front of a child and a coolie.[62]

Painted in Simla and sold in November 1936 at Sher-Gil's exhibition at the Taj Mahal Palace Hotel Mumbai for ₹1,000 to Anand Prabha Shankar Pattani, son of Prabhashankar Pattani.[62]

It was one of five of her paintings exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi in 1938.[13]

Paintings (1937)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1937:
Girl with Pitcher		 Unknown[61] 68 × 105.4 cm
Oil on canvas[61]		 Completed in April 1937.[61]
1937:
Village Girl		 New Delhi, National Gallery of Modern Art 56 × 90 cm
Oil on canvas[61]
1937:
Namaskar		 New Delhi, National Gallery of Modern Art 38 × 48.7 cm
Oil on canvas[61]		 Painted at Simla.[61]
1937:
Dressing the Bride		 Private[61] 70 × 95 cm
Oil on canvas[61]		 Painted at Simla.[61]
1937:
Self-Portrait		 Private[61] 52 × 78 cm
Oil on canvas[61]		 Painted at Simla.[61]
1937:
Fruit Vendors		 73.6 × 105.5 cm
Oil on canvas[61]		 Painted in January 1937 at Cape Comorin.[61]

Displayed at the 1937 exhibition in Lahore for a price of ₹250.[10]

1937:
Bride's Toilet		 New Delhi, National Gallery of Modern Art 144.5 × 86 cm
Oil on canvas[61]		 Completed in April 1937.[61]

One of Sher-Gil's South Indian trilogy.[63]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[10]

1937:
Villagers in Winter
Oil on canvas		 One of Sher-Gil's South Indian trilogy.[63]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[10]

1937:
Brahmacharis		 New Delhi, National Gallery of Modern Art 144.5 × 86.5 cm
Oil on canvas[64]		 Painted in May 1937 at Simla.[64]

One of Sher-Gil's South Indian trilogy.[63]

Displayed at the Lahore exhibition (1937) for a price of ₹1,500.[10]

1937:
Mendicant		 New Delhi, National Gallery of Modern Art 36 × 52 cm
Oil on canvas[64]		 Painted at Simla[64]
1937:
Two Mendicants		 New Delhi, National Gallery of Modern Art 66.5 × 89.5 cm
Oil on canvas[64]		 Painted at Simla[64]
1937:
My Grandmother Lady Jasbir Kaur
1937:
Women on the Beach		 The Government and Art Gallery, Chandigarh[61] 29.9 × 40 cm
Oil on canvas[61]		 Painted at Cape Comorin.[61]

Modelled on South Indian women.[65]

1937:
Self-Portrait		 Private collection One of two self-portraits completed in Simla, Sher-Gil described this as "sugary".[66]
1937:
Self-Portrait in Blue Sari		 Private[61] 45× 79 cm
Oil on canvas[61]		 One of two self-portraits completed in Simla.[66]
1937:
Raja o Kollengode		 Siddarth John, Thiruvananthapuram.[61] 77.5× 116 cm
Oil on canvas[61]		 Painted at Simla in March 1937.[61]
1937:
Lady Daljit Singh of Kapurthala		 New Delhi, National Gallery of Modern Art[61] 55× 89 cm
Oil on canvas[61]		 Painted at Delhi[61]
1937:
Head of a Girl		 Private[64] 29 × 33 cm
Oil on canvas[64]		 Painted at Simla.[64]
1937:
Bullock Cart		 Private[64] 41 × 30 cm
Oil on canvas[64]		 Painted at Simla.[64]
1937:
South Indian Villagers going to Market		 90 × 147.3 cm
Oil on canvas[64]		 Painted at Sher-Gil's home, The Holme, Simla, around October 1937, along with the two smaller compositions The Story Teller and Siesta.[9][66]

Displayed at the 1937 exhibition in Lahore for a price of ₹1,500.[10]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]

1937:
The Story Teller		 India, private collection 59 × 79 cm
Oil on canvas		 Bought by Badruddin Tyabji at the 1937 exhibition in Lahore, where it was put up for ₹250.[10]

Sold at auction in 2023 for ₹61.8 crore ($2.67 million).[67]

1937:
Siesta		 New Delhi, National Gallery of Modern Art[64] 83 × 55 cm
Oil on canvas[64]		 Painted in October 1937 at Simla.[64]

According to Vivan Sundaram it was originally titled Fantasy, and completed at Simla.[66]

Displayed at the 1937 exhibition in Lahore for a price of ₹750.[10]

Sher-Gil in a letter to Khandelwal dated 19 December 1937, wrote "my fantasy (which I have called Painting)",[68] and was priced at ₹350 at Lahore.[10]

Sher-Gil possibly later made alterations to the painting.[17]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]

Paintings (1938)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1938:
Red Brick House		 Private[69] 37 × 26.6 cm
Oil on canvas[69]		 Completed in Lahore in January 1938.[69]
1938:
Portrait of Helen		 Unknown[64] 26.5 × 35 cm
Oil on canvas[64]		 In January 1938 from Faletti's, Sher-Gil wrote to her parents "I have started on a head of Mrs. Chamanlal for which I don't wish to charge them anything".[70]
1938:
Portrait of Shakuntala Kapur		 Unknown[64] Commissioned portrait of Shakuntala Lall, who asked Sher-Gil to adjust her fingers to appear slender. Sher-Gil did as requested and left the painting unsigned.[71]
1938:
The Vina Player		 Lahore Museum, Lahore[64] Displayed at the Lahore exhibition (1937), where it was bought for the museum.[10]
1938:
Village Group		 Private[69] 95 × 66 cm
Oil on canvas[69]		 Painted in March 1938 at Saraya.[69]
1938:
Women in Red		 New Delhi, National Gallery of Modern Art 59.5 × 53.7 cm
Oil on canvas[69]		 Painted in March 1938 at Saraya.[69]
1938:
Elephants Bathing in a Green Pool		 81 × 56 cm
Oil on canvas[69]		 Completed in Saraya in February 1938.[8]

It was one of five of her paintings exhibited at the All India Fine Arts and Crafts Society's exhibition in Delhi in 1938.[13]

1938:
Three Bullock Carts		 Private[69] 78.7 × 40.6 cm
Oil on canvas[69]		 Completed in Saraya in March 1938.[69]
1938:
Hill Scene		 New Delhi, National Gallery of Modern Art 65 × 87.5 cm
Oil on canvas[69]		 Completed in Simla in April 1938.[69]
1938:
Hill Side		 New Delhi, National Gallery of Modern Art 65 × 87.5 cm
Oil on canvas[69]		 Completed in Simla in June 1938.[69]
1938:
Village Scene		 New Delhi, National Gallery of Modern Art 84 × 62 cm
Oil on canvas[69]		 Painted around February-March 1938,[8] in Simla.[69]

Sold in 2006 to an Indian businessman for $1.6 million.[8][72]

1938:
In the Ladies Enclosure		 Private collection[69] 81 × 56 cm
Oil on canvas[69]		 Painted in March 1938 at Saraya.[69]
1938:
Red Clay Elephant		 66 × 96.5 cm
Oil on canvas[69]		 Completed in March 1938 at Saraya.[69]

Formerly known as Ganesh Puja.[57]

1938:
Red Verandah		 New Delhi, National Gallery of Modern Art 71.6 × 144.2 cm
Oil on canvas[69]		 Painted in May 1939 in Simla.[69]
1938:
Sardarni Kirpal Singh Majitha		 Private collection[69] 66 × 92.7 cm
Oil on canvas[69]		 Painted in April 1938 in Saraya, Sher-Gil wrote to her mother in March 1938..."Kirpal has asked me to paint his wife from memory and the aid of a rotten photograph".[13][lower-alpha 4]
1938:
Potato Peeler		 New Delhi, National Gallery of Modern Art 59.5 × 72.7 cm
Oil on canvas[73]		 Completed in November 1938[73]
1938:
Hungarian Church Steeple		 Private[73] 45.7 × 67.3 cm
Oil on canvas[73]		 Painted in Kiskunhalas, Hungary, in November 1938, when she returned there to marry Viktor Egan.[14][73]
1938:
Hungarian Market Scene		 New Delhi, National Gallery of Modern Art 72 × 97 cm
Oil on canvas[73]		 Painted in Kiskunhalas, Hungary, in November 1938, when she returned there to marry Viktor Egan.[14][73]
1938:
Trees		 Zsuzsa Urbach, Budapest.[73] 38.2 × 61 cm
Oil on canvas[73]

Paintings (1939)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1939:
Winter		 New Delhi, National Gallery of Modern Art 73.6 × 52 cm
Oil on canvas[73]		 Painted in Hungary in January 1939[73]
1939:
Victor Egan		 Private collection of Manoj Israni (2022)[74] 63.5× 80 cm
Oil on canvas[73]		 Portrays Egan in army uniform, and sold in 2020 to Manoj Israni for ₹10.86 crore.[74]
1939:
Female Torso		 New Delhi, National Gallery of Modern Art 56 × 99 cm
Oil on canvas[73]		 Painted in Budapest.[73]
1939:
Two Girls		 Vivan & Navina Sundaram[73] 89 × 129 cm
Oil on canvas[73]		 Painted in Budapest in March 1939,[73] the dark girl is modelled on a dark Hungarian gypsy.[1][75][76]
1939:
Merry Cemetery		 New Delhi, National Gallery of Modern Art 73 × 98.5 cm
Oil on canvas[73]		 Painted in Zebegény.[77]
1940:
Resting		 New Delhi, National Gallery of Modern Art 99 × 110.7 cm
Oil on canvas[1]		 Painted in November 1939 at Simla.[1]

Paintings (1940)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
Helen Chaman Lall Portrait of Helen Chaman Lall
1940:
Ancient Story Teller		 New Delhi, National Gallery of Modern Art 70 × 87 cm
Oil on canvas[1]		 Painted at Saraya in 1940,[1] the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15] There, it was awarded the Sardar S. G. Thakur Singh Award (₹50) for best composition in oil.[15]
1940:
The swing		 New Delhi, National Gallery of Modern Art 70 × 91.4 cm
Oil on canvas[1]		 Painted in February 1940,[1] the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]

The main figure is modelled on (Tejwant Kaur (Teji), daughter of Kirpal Singh Majitha, Sher-Gil's cousin.[78]

1940:
Woman on Charpoy		 New Delhi, National Gallery of Modern Art 85 × 72.4 cm
Oil on canvas[1]		 Completed at Saraya in June 1940.[54][57][79][80]

The main figure is modelled on Teji.[78]

1940:
Bride		 New Delhi, National Gallery of Modern Art 70 × 98 cm
Oil on canvas[1]		 Painted at Saraya[8][81]
1940:
Resting Mother		 New Delhi, National Gallery of Modern Art 97 × 72 cm
Oil on canvas[1]
1940:
Elephant Promenade		 New Delhi, National Gallery of Modern Art 92.5 × 126.5 cm
Oil on canvas[1]		 In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]
1940:
Elephants		 New Delhi, National Gallery of Modern Art 72 × 86.3 cm
Oil on canvas[1]		 Painted in March 1940 in Saraya.[1]

In 1940, the painting was one of six of Sher-Gil's works displayed at the Indian Academy of Fine Arts' Amritsar Exhibition (31 October - 10 November), to raise money for the War Fund.[15]

1940:
Two Elephants		 New Delhi, National Gallery of Modern Art 43.2 × 52 cm
Oil on canvas[1]		 Painted at Saraya.[1]
1940:
Two Tigers and a small Elephant's Head		 Commissioned[82]

Sher-Gil wrote to Karl Khandalawal on 4 May 1940 that "the tigers were made to order. I don't consider it a work of art".[83]

1940:
Haldi Grinders		 New Delhi, National Gallery of Modern Art 74.7 × 100 cm
Oil on canvas[1]		 Painted at Saraya.[1]
1940:
Hungarian Village Market		 Private[1] 73 × 100 cm
Oil on canvas[1]		 Painted at Saraya.[1]
1940:
Musicians		 New Delhi, National Gallery of Modern Art 67.5 × 93 cm
Oil on canvas[1]		 Painted in December 1940.[1]
1940:
Horse and Groom		 Unknown[1] Painted at Saraya.[1]
1940:
Woman at Bath		 New Delhi, National Gallery of Modern Art 70 × 92 cm
Oil on canvas[1]		 Painted at Saraya.[1]

Paintings (1941)

Painting Year
Name		 City, Gallery Dimensions
Technique		 Notes
1941:
Village Girls		 New Delhi, National Gallery of Modern Art 44.3 × 52.2 cm
Oil on canvas[1]		 Painted at Saraya in August 1941.[1]

From Sardarnagar, Gorakhpur, Sher-Gil wrote to Badruddin Tyabji on 3 September 1941 that she had completed the Village Girls after at least six months of not looking at her brushes. "The spell has suddenly broken now and I am working with passion.[84]

In Sher-Gil's words it depicts "four little girls weaving baskets. The background an acid lemon, the children a medley of hot colour."[84]

1941:
Camels		 New Delhi, National Gallery of Modern Art 74.7 × 100 cm
Oil on canvas[1]		 Painted at Saraya in September 1941.[1]

Sher-Gil wrote to her mother on 29 August 1941 that "I am doing a lot of drawings of animals. Camels, horses, baffles etc.".[85]

In Sher-Gil's words it depicts "a curious rose coloured Indian saddle on one of the animals".[84]

1941:
The Last Unfinished Painting		 New Delhi, National Gallery of Modern Art 65.7× 87. cm
Oil on canvas[1]		 Was being painted in September 1941 at Lahore.[8]

Notes

  1. ↑ In Self-Portrait as a Tahitian " her tanned naked body is slightly turned, a possible reference to the artist's longing to return to India".[7]
  2. ↑ Not mentioned in Sundaram's book
  3. ↑ Sumair (born 1918), became a model in Paris and was later associated with the underworld, Nazis and Axis agents. Bernard Wasserstein describes her as having "a podgy face and snub nose, and was somewhat short for a model".[58]
  4. ↑ Kirpal Singh (1891-1944) was Sher-Gil's cousin, married to Raminder Kaur (1894-1936), also known as Sardarni Kirpal Singh Majitha[8]

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 Sundaram, pp. 796-811
  2. 1 2 Dalmia, p. 31
  3. ↑ Sundaram, pp. 412-413
  4. 1 2 Sundaram, pp. 72-79
  5. 1 2 3 4 Sher-Gil, Amrita (2014). "1. Evolution of my art". In Dalmia, Yashodhara (ed.). Amrita Sher-Gil: Art & Life : a Reader. Oxford University Press. pp. 3–8. ISBN 978-0-19-809886-7.
  6. 1 2 3 4 5 6 7 8 9 10 11 12 Sundaram, pp. 80-85
  7. 1 2 3 Haupt, Christina (2016). Amrita Sher-Gil and the representations of non-western female bodies. Norderstedt: Grin. pp. 2–4. ISBN 978-3-6684-887-7-9.
  8. 1 2 3 4 5 6 7 8 9 10 11 Sundaram, pp. vi-xliii
  9. 1 2 3 Dalmia, pp. 98-100
  10. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Sundaram, pp. 422-424
  11. ↑ Sundaram, pp. 418-421
  12. ↑ Sundaram, pp. 430-431
  13. 1 2 3 4 5 6 Sundaram, pp. 471-473
  14. 1 2 3 Singh, N Iqbal (1975). "Amrita Sher-Gil". India International Centre Quarterly. 2 (3): 209–217. ISSN 0376-9771.
  15. 1 2 3 4 5 6 7 8 9 Sundaram, pp. 684-685
  16. ↑ The Protection of Movable Cultural Property: Compendium of Legislative Texts. Unesco. 1984. p. 167. ISBN 978-92-3-101638-7.
  17. 1 2 3 Dalmia, pp. 204-205
  18. 1 2 3 4 5 6 7 8 Sundaram, p. 798
  19. 1 2 3 4 5 6 7 8 Sundaram, p. 799
  20. ↑ Dalmia, p. 54
  21. 1 2 Shaw-Johnson, Amanda (2021). Why Now?: The Euro-U.S. Canon Adopts Tarsila do Amaral and Amrita Sher-Gil Almost 90 Years Later (Thesis). UC Davis.
  22. ↑ Sundaram, p. 78
  23. 1 2 3 4 5 6 7 8 9 10 11 Sundaram, p. 800
  24. 1 2 3 4 Sundaram, pp. 98-99
  25. ↑ Dalmia, pp. 34-35
  26. ↑ Roy, Amit (2015). "Sold: Sher-Gil self-portrait for £1.7m". www.telegraphindia.com. Archived from the original on 25 November 2023. Retrieved 25 November 2023.
  27. ↑ "Alfred Cortot". www.museumsofindia.gov.in. Archived from the original on 12 January 2024. Retrieved 8 January 2024.
  28. 1 2 3 4 5 Sundaram, p. 797
  29. 1 2 Sundaram, pp. 60-61
  30. 1 2 3 4 5 6 7 Sundaram, p. 801
  31. ↑ Sundaram, p. 102
  32. ↑ Sundaram, pp. 76-79
  33. ↑ Sundaram, pp. 140-141
  34. 1 2 3 Sundaram, pp. 278-285
  35. ↑ Sundaram, p. 56
  36. ↑ Jhala, Kabir (2 March 2021). "Rediscovered portrait by India's most famous female painter Amrita Sher-Gil expected to sell for $2.8m". The Art Newspaper - International art news and events. Archived from the original on 4 January 2024. Retrieved 23 December 2023.
  37. ↑ Dalmia, pp. 39-42
  38. ↑ Higgie, Jennifer (2021). The Mirror and the Palette: Rebellion, Revolution and Resilience: 500 Years of Women's Self-Portraits. Hachette. p. 190. ISBN 978-1-4746-1380-4.
  39. ↑ Anand, Mulk Raj (1989). Amrita Sher-Gil. National Gallery of Modern Art. p. 10.
  40. 1 2 3 4 5 6 7 8 9 10 11 12 Sundaram, p. 802
  41. 1 2 Sundaram, pp. 112-115
  42. 1 2 Sundaram, Vivan; Sher-Gil, Umrao Singh (2001). Re-take of Amrita: Digital Photomontages Based on Photographs by Umrao Singh Sher-Gil (1870-1954) and Photographs from the Sher-Gil Family Archive. Tulika. p. 55. ISBN 978-81-85229-49-2.
  43. ↑ Singh, Nikky-Guninder Kaur (2011). "8. Sikh art". Sikhism: An Introduction. New York: Bloomsbury Publishing. pp. 239–250. ISBN 978-1-84885-320-1.
  44. ↑ Sundaram, pp. 522-523
  45. ↑ Sundaram, p. 94
  46. ↑ Dalmia, p. 50
  47. 1 2 Dalmia, pp. 29-30
  48. ↑ Bhushan, Nalini (2020). "19. Amrita Sher-Gil: identity and integrity as a mixed-race woman artist in colonial India". In Alston, Charlotte; Carpenter, Amber; Wiseman, Rachael (eds.). Portraits of Integrity: 26 Case Studies from History, Literature and Philosophy. London: Bloomsbury Publishing. pp. 195–206. ISBN 978-1-350-04039-7.
  49. 1 2 3 4 5 6 7 8 9 10 11 12 Sundaram, p. 804
  50. ↑ Dalmia, pp. 59-75
  51. ↑ "Amrita Sher-Gil's 'The Little Girl in Blue' fetches Rs 18.69 crore". Tribune. 30 November 2018. Archived from the original on 12 November 2023. Retrieved 12 November 2023.
  52. 1 2 3 4 5 6 7 8 9 10 11 12 Sundaram, p. 803
  53. ↑ Sundaram, pp. 184-185
  54. 1 2 Mandakini; Gupta, Ila; Jha, P. (2016). "20. Gender and space in the paintings of Raja Ravi Varma and Amrita Sher-Gil". In Seta, Fumihiko; Biswas, Arindam; Khare, Ajay; Sen, Joy (eds.). Understanding Built Environment: Proceedings of the National Conference on Sustainable Built Environment 2015. Springer. pp. 237–254. ISBN 978-981-10-2136-7.
  55. ↑ Sundaram, pp. 208, 334
  56. ↑ Sundaram, pp. 192-196
  57. 1 2 3 4 5 Sundaram, pp. 642-647
  58. 1 2 3 Sundaram, pp. 178-181, 202
  59. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Sundaram, p. 805
  60. 1 2 Sundaram, p. 227-229
  61. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Sundaram, p. 806
  62. 1 2 Sundaram, pp. 260-261
  63. 1 2 3 Dalmia, pp. 201-202
  64. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Sundaram, p.807
  65. ↑ Dalmia, pp. 84, 90
  66. 1 2 3 4 Sundaram, pp. 416-417
  67. ↑ "Amrita Sher-gil's 'The Story teller' is now the most expensive Indian painting! Oil on canvas masterpiece fetches Rs 61.8 cr at Delhi auction". The Economic Times. 2023-09-19. ISSN 0013-0389. Archived from the original on 2023-09-26. Retrieved 2023-09-19.
  68. ↑ Sundaram, pp. 428-429
  69. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Sundaram, p. 808
  70. ↑ Sundaram, pp. 438-439
  71. ↑ Singh, N. Iqbal (1984). Amrita Sher-Gil: A Biography. Vikas. p. 118. ISBN 978-0-7069-2474-9.
  72. ↑ Sooke, Alastair (24 February 2007). "Laid bare - the free spirit of Indian art". The Telegraph. Archived from the original on 17 December 2023. Retrieved 17 December 2023.
  73. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Sundaram, p. 809
  74. 1 2 Gupta, Jahnavi (24 December 2020). "Amrita Sher-Gil's rare portrait fetches over Rs 10 crore". Hindustan Times. Archived from the original on 1 January 2024. Retrieved 12 December 2023.
  75. ↑ Sundaram, pp. 570-572
  76. ↑ Dalmia, pp. 118-19
  77. ↑ Dalmia, p. 198
  78. 1 2 Sundaram, pp.498-499
  79. ↑ Sen, Geeti (2002). Feminine fables : imaging the Indian woman in painting, photography,and cinema. Ahmedabad: Mapin Publishing. p. 63. ISBN 978-81-85822-88-4.
  80. ↑ Dalmia, pp. 135, 149-150
  81. ↑ Dalmia, p. 136
  82. ↑ Dalmia, pp. 138-139
  83. ↑ Sundaram, pp. 638-641
  84. 1 2 3 Sundaram, pp. 743-745
  85. ↑ Sundaram, pp. 737-741

Bibliography

  • Dalmia, Yashodhara (2013). Amrita Sher-Gil: A Life. Gurugram: Penguin Books. ISBN 978-0-14-342026-2.
  • Sundaram, Vivan (2010). Amrita Sher-Gil: A Self-Portrait in Letters and Writings. Vol. 1. New Delhi: Tulika Books. pp. 1–417. ISBN 978-81-89487-59-1.
  • Sundaram, Vivan (2010). Amrita Sher-Gil: A Self-Portrait in Letters and Writings. Vol. 2. New Delhi: Tulika Books. pp. 418–821. ISBN 978-81-89487-59-1.
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