A Quote by Amrita Sher-Gil

As soon as I put my foot on Indian soil, my painting underwent a change not only in subject and spirit but in technique. — © Amrita Sher-Gil
As soon as I put my foot on Indian soil, my painting underwent a change not only in subject and spirit but in technique.
There's a difference between craft and painting. Craft, your job is to make it exactly the same every time. Painting is the opposite, but in painting there is some craftsmanship, which is called technique. But technique is spontaneous. That's the treasure, the most important part. You are in it.
Culture and tradition have to change little by little. So 'new' means a little twist, a marriage of Japanese technique with French ingredients. My technique. Indian food, Korean food; I put Italian mozzarella cheese with sashimi. I don't think 'new new new.' I'm not a genius. A little twist.
The mind is but a barren soil; a soil which is soon exhausted, and will produce no crop, or only one, unless it be continually fertilized and enriched with foreign matter.
When the April wind wakes the call for the soil, I hold the plough as my only hold upon the earth, and, as I follow through the fresh and fragrant furrow, I am planted with every foot-step, growing, budding, blooming into a spirit of spring.
I have always been a fan of Salvador Dali, but Amrita Sher-Gil, who was an Indian-Hungarian painter, is another favourite. She was painting Indian women, and, growing up here, I'd never seen anyone paint Indian women, so that was really incredible to see a painting of someone who looks like you. I think that has a lot of impact on you.
Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.
The muscularity in my paintings is only an expression of the spirit within. When I paint Nephi, I'm painting the interior, the greatness, the largeness of spirit. Who knows what he looked like? I'm painting a man who looks like he could actually do what Nephi did.
God will never plant the seed of his life upon the soil of a hard, unbroken spirit. He will only plant that seed where the conviction of his spirit has brought brokenness, where the soil has been watered with the tears of repentance as well as the tears of joy.
I think that the gifts of the spirit are always subject to the control of the person who's exercising them. You're not forced in to doing it. Love never forces. And therefore 'the spirit of the prophet is subject to the prophet' is another way it is put. You don't suddenly find yourself taken over by a spirit and find yourself speaking tongues. You're in control, but it's a gift. You can stop and start as you please, but it's a way of communicating with God.
The ideal is a synthesis of the different cultures that have come to stay in India, that have influenced Indian life, and that, in their turn, have themselves been influenced by the spirit of the soil.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
If you're going through difficult times today, hold steady. It will change soon. If you are experiencing smooth sailing and easy times now, brace yourself. It will change soon. The only thing you can be certain of is change.
We saw that on the Turkish side there was a sincere wish for peace. But before I could even put my foot back on Greek soil people called me a traitor.
The Indian Bureau system is wrong. The only way to adjust wrong is to abolish it, and the only reform is to let my people go. After freeing the Indian from the shackles of government supervision, what is the Indian going to do: leave that with the Indian, and it is none of your business.
Pawns not only create the sketch for the whole painting, they are also the soil, the foundation, of any position
It's amazing how, in New York, there is almost a feeling of entitlement by the public - this very palpable lack of surprise at being stopped in the street and being asked to be the subject of a 12-foot monumental painting.
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