Movement · 1920–1960

Indian Modernism

Indian painters fuse European modernism with Indian traditions. Amrita Sher-Gil brings her Paris training together with Ajanta frescoes and Mughal miniatures in warm, earthy color.

Across 3 works, the colors are mostly brown (57%), black (15%) and orange (10%). On average the canvases are mid-toned, vivid and warm. Signature colors, used far more here than across the collection: light lime green, pale green, red, rich orange brown and rich sienna.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 158 rich orange brown 5.6% of canvas
• MG 223 soot 5.4% of canvas
• MG 018 red 5.2% of canvas
• MG 219 bistre 4.5% of canvas
• MG 161 rich scarlet brown 4.3% of canvas
• MG 167 brown 4.2% of canvas
• MG 168 dark amber brown 3.9% of canvas
• MG 166 amber brown 3.7% of canvas
• MG 177 dark taupe 3.7% of canvas
• MG 024 scarlet 3.7% of canvas
• MG 030 orange 3.6% of canvas
• MG 156 dark reddish brown 3.6% of canvas
• MG 147 rich sienna 3.5% of canvas
• MG 176 taupe 3.1% of canvas
• MG 222 charcoal 2.6% of canvas
• MG 154 reddish brown 2.5% of canvas

Measurements

Lightness

0.46

Contrast

0.49

Vividness

0.060

Warmth

+1.00

Complexity

173 cells

Hue range

0.40

Focus

0.06

Composition

Averaged over 3 works: 51% of the visual weight in the right half, 51% in the upper half; symmetry 0.41; 22% calm space; half of the detail in 30% of the canvas. Measured from each image, not a rule the painters followed.

Artists

• Amrita Sher-Gil 1913–1941

Works

• Self-Portrait as Tahitian, 1934
• Three Girls, 1935
• Bride's Toilet, 1937