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Amrita Sher-Gil—The European Connection

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Amrita Sher-Gil—The European Connection Amrita Sher-Gil—The European connection This talk was proposed in a very sponteanous manner when Geza, who had been asking me to do an exhibition, said that he was leaving shortly. As with the Sher-Gil archive exhibition held here some years ago, the approach would be using archival material, go through the biography and finally suggest some other ways of looking at the subject. The talk was to be mainly spoken, interlaced with quotations. Now there will be telegraphic information in place of the verbal. In other words an a hugely incomplete presentation, compensated by a large number of visuals. I hope you will bear with us. 1&2: Umrao Singh and his younger brother, Sunder Singh taken in 1889, most probably by Umrao Singh himself. Striking a pose, being unconventional, Umrao Singh looks out, while his brother places his bat firmly on the ground—the latter will be knighted, will start one of Asia’s largest sugar factory in Gorakhpur ( where Amrita will spend the last years of her life ). Umrao will use his camera with a personal passion and take self portraits for almost sixty years as well as photograph his new family. Umrao Singh went to London in 1896 for a year and would certainly have met Princess Bamba, the daughter of Raja Dalip Singh, and Grand daughter of Raja Ranjit Singh. 3& 4: In October 1910 she came to Lahore with a young Hungarian, who was her travelling companion. On new years eve Umrao Singh wrote in Marie Antionette dairy a poem of Kalidasa and a friend, an Urdu poet wrote in the same book on 15 January 1911, the following poem translated by Umrao Singh. 5 &6: Intoxicated by her grace and charms, When she at random through the garden strays,, From every bud this prayer issues forth: May I be singled out by her, O God ! 7 & 8: The poet was Mohammed Iqbal. Umrao Singh remained friend’s with the great poet till the end of his life. Umrao Singh married Marie Antionette in January. She became pregnant in May 1912. 9& 10; The couple arrived in Budapest in December 1912 and Amrita was born in Jan 30, in Buda on the banks of the Danube opposite the houses of Parlaiment. The Gottesmann/ Bakhtay family. The lady in black in the centre is Marie Antionette’s mother and the lady with white hair is her mother. A painting of her done by Amrita is in Jaipur House. 11 & 12. The family in 1916 moved to their village house on the outskirts of Budapest. Amrtia and her sister, Indira only spoke Hungarian. The mother told them many Hungarian folk tales. Amrita’s Christian name Maria Magdelena is given in her school leaving certificate. 13 & 14. The water colour’s are done at the age of seven and nine. Amrita made an enormous number of these idealyic paintings. 15 & 16: The family moved to Simla in 1921coming via Paris where they went to the Louvre. In Simla they learnt English and French and the two girls acted in plays at the Amateur Dramatic Society. 17 & 18. In the twenties two European men were to have very different kinds of an affect on Amrita. The first was an Italian Sculptor, Pasquinelli, who made realistic marble busts of the elite in Punjab. He fell in love with Marie Antionette, and soon proposed they go to Florence for Amrita’s artistic education. The two girls and the mother went for two months. Amrita hated the experience, blamed her mother for using her. 19 7 20 : For the next three years the her drawings and water colours became intense, passionate and angry. The theme of Judith was often repeated. 21 & 22. Themes were often taken from European literature and films. 23 & 24: In 1927 her Hungarian uncle Ervin Baktay arrived in Shimla. Under the influence of Umrao Singh he had become an Indologist ( Geza has written a book on him ) . He had earlier been to study art under a well known Hungarian artist, Simon Hollosy, in Munich. On the right Amrita is painting him many years later in Budapest. Ervin made Amrita draw from life, and gradually laid the academic, realist basis of her art. 25 & 26: Beethoven and a self portrait. 27 & 28. In 1929 the whole family moved to Paris for Amrita’s art education. 29 & 30 Joseph Nemes an artist, also a student of Hollosy introduced Amrita to Pierre Valliant, who took her into the Grand Chamiere. Gaicommetti had finished his studies there two years before. At Chopin’ s grave. 31 & 32. In 1930 Amrita was enrolled into the workshop of Lucian Simon- 1861-1945 33 & 34. Simon’s work The Procession- 1901- included in the Royal Academy exhibition on post impressioism in 1979. Subsequently he painted fashionable Parisian genre scenes in a fairly rich and bright pallete. “One day I proclaimed that Siminon was a troglodyte. The name stuck to him. Jean thought it might be time to leave the school. I had made up my mind when Siminon admitted an independent student, a young woman, from a far away Eastern country and whose arrival convinced me immediately that I still had a lot to do and learn amongst the ‘slaves of Bonaparte street’. 35 & 36 .The lines by Boris Taslitsky who stands behind Amrta, from his fictional autobigraphy called Tu Parles.. Ram Kumar met him in the early fifties in Paris. He asked him whether he had heard of Amrtia Sher Gil. Boris is still alive in Paris. 37 & 38. She was born in these far away countries where the crocodiles eat the pilgrims, the holy cows men'’ food, where princesses live on pearls. Her playmates had been young tigers, she’d learnt babbling while charming rattle snakes, had slept under the black panther’s wakeful eye. 39 & 40: She looked as if had come down the from stone fresco in order to eternalize on the banks of the River Seine the dramas and mysteries of Bramha. 41 & 42: My eyes sunk into her black ones, as in a velvety pool of authority, out of which I escaped only to fall under the influence of her dark rosy lips. 43 & 44: The workshop welcomed her in petrified silence.It became quite different when she started painting and when the transposition of the model was born on her canvas. : 45 & 46! It was fine, it was flesh, it was violence allied to tenderness, it was both rape and respect, it clashed and it flowed harmony and tearing it apart at the same time 47 & 48 :. It was neither classical, nor romantic, nor contemporary, something belonging neither to yesterday or today, it belonged to all epochs and to the present, a sort of present that anticipates the future. 49 & 50 I came near her and to uphold my courage, I addressed her with the words “ Hello Michelangelo” a greeting I wished to sound relaxed. She exclaimed, you like Michelangelo, he’s my god 51 & 52: Ho! He’s just abore, her neighbour interrupted, he’s even a stupid fool. He blinked his eyes, absorbed for a minute in his own work and whispered “ Cezanne, the greatest painter in the world”. I like him too, she answered, I like him as the genius, like all geniuses, but above all I place Michelangelo and Beethoven. 53 & 54: Her neighbour watched her with an ironic smile. Make a little effort beauty, go as far as Gericault, and you will make hell of a couple, Igor and you. We’ll marry you and have hell of a good time. She looked at me in wonder. Gericault, really ? That’s amazing ! I like him very much, too. 55& 56: I tucked my hands into my pockets and asked with arrogance “ Never mind, what’s your name ? She picked up her brushes, mixed her colours, looked up again and quickely throwing her long black hair back, she said Is ‘tu’ used to address someone here ? Yes it was. Maybe we intended to change it ? She would have to get used to it. Well, if such is the use… My name is Immortal… what is yours ? Immortal ! How did I never guess ? Of course Immortal. Triple imbicile, could she have any other name. 57 & 58 : BLANKS: I began raving. I bored Jean to death with various theories about the souls immortality, about the immortality of painting, of beauty. Immortal said farewell to us by the end of the week. She was leaving for three months and going to Italy, Engalnd, ten other countries and Hungary. I abruptly became aware of the immensity of the world, I started to study geography with a globe. 59 & 60 : On leaving Le Bon Coin, in the Pantheon square, I met Immortal, back from her trip throughout Europe. She was with a little old man with a white beard and a large green turban round his forehead. He was wearing a supple, red leather shoulder strap, at the end of which was hanging a long umbrella. The sight of such a character would have amused me, had I met him alone and had not known he was Immortal’s father; I was bedazzeled and filled with the greatest respect for him. Immortals smile filled me with happiness. 61 & 62: Immortal back at the workshop occupied all my thoughts. I intently watched for her car, that she drove herself, quite an unusual thing at that time. She always had the best excuse in the world to justify her being late. Toscanini had dropped in without a warning to visit her mother who was once a famous opera singer.
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