Amrita Šer-Gilová citáty

Amrita Šer-Gilová byla maďarsko-indickou malířkou, průkopnicí moderního indického umění. Ačkoli její dílo za jejího krátkého života nebylo mezinárodně známé, dnes je Šer-Gilová spolu s Tyebem Mehtou nejdražším indickým výtvarným umělcem. Indická vláda vyhlásila její práce za Národní umělecké poklady, většina z nich je umístěna v Národní galerii moderního umění v Dillí. Pokud se její obraz prodává v Indii, musí podle nařízení indické vlády zůstat v zemi - do světa se tak dostalo méně než deset jejích obrazů. Kvůli způsobu, jakým smísila evropské a tradiční indické umělecké formy, bývá označována za „indickou Fridu Kahlo“. Na většině jejích obrazů jsou dívky, její dopisy ostatně odhalily její homosexuální orientaci. Její práce Dvě ženy je považována za obraz jí samotné s milenkou Marií Louisou. Wikipedia  

✵ 30. leden 1913 – 5. prosinec 1941
Amrita Šer-Gilová foto
Amrita Šer-Gilová: 22   citátů 0   lajků

Amrita Šer-Gilová: Citáty anglicky

“The Brahmacharis as the most difficult thing she had ever done…. don't you think I have learnt something from Indian painting?…I don't know whether it is a passing phase or a durable change in my outlook but I see in a more detached manner, more ironically than I have ever done.”

In a latter to Karl Khandalavala in 1937 after she had done three paintings on south Indian villagers - The Bride's Toilet, The Brahmacharis, and South Indian Villagers going to Market.
Sikh Heritage,Amrita Shergil

“Europe belongs to Picasso, Matisse and many others, India belongs only to me.”

When Amrita returned to India because her experience in a metropolis, after the initial excitement had died down.
Sikh Heritage,Amrita Shergil

“These little compositions are the expression of my happiness and that is why perhaps I am particularly fond of them.”

On Her paintings from January to May 1938 done at Saraya including Elephants Bathing.
Sikh Heritage,Amrita Shergil

“…was to interpret the life of Indians and particularly the poor Indians, pictorially.”

Proclamation of her mission when she painted "The Beggars and Woman with Sunflower".
Sikh Heritage,Amrita Shergil

“It is dreadful to think of Paris in German hands but what preoccupies me still more is what is going to happen to modern French art and the younger artists.”

In June 1938 Amrita and her husband fled from Fascist dominated Hungary.
Sikh Heritage,Amrita Shergil

“I was positively stunned and have straight away become a votary of Mathura art to the exclusion of all the other and later schools.”

At Mathura where she saw Kushan sculpture for the first time and she proclaimed.
Sikh Heritage,Amrita Shergil

“Rose water and raw spirit…weird amalgam of the bearded star gazer and the red haired pianist pounding away at her keyboard.”

Malcolm Muggeridge who had an serious affair with her in The Triumph of Modernism: India's Artists and the Avant-garde, 1922-1947, page=46

“An Indian with a measure of European blood, she returned to India to shed her acquired skin…. She saw her country with new vision and has left a legacy of pictures simple and grand…as a tribute to the Indian countryside and its people.”

Maic Casey in [Mitter, Partha, The Triumph of Modernism: India's Artists and the Avant-garde, 1922-1947, http://books.google.com/books?id=krdWkzVLSbkC&pg=PA236, 2007, Reaktion Books, 978-1-86189-318-5, 45]

“At stake was not only a serious and viable artistic career as a woman, but the development of a subjectivity that was being defined through the self-portrait. conscious of being both muse and maker, Sher-Gil took on the position of artist and object with a double consciousness of being both.”

Above two quotes by art historian Rakhee Balaram in the self in making AMRITA SHER-GIL, 7 December 2013, Kiran Nadar Museum of Arts. http://knma.in/exhibition/self-making-amrita-sher-gil-0.,

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