Amrita Sher-Gil and the representations of non-western female bodies

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The essay explores the individuality of Amrita Sher-Gil's paintings by analyzing her stylistic evolution through three key works from 1930 to 1935. It highlights the Western influences in "Self-Portrait with Easel" (1930), the challenge to traditional female nude representation in "Self-Portrait as Tahitian" (1934), and culminates with "Hill Women" (1935), marking a significant artistic transition. Additionally, it contextualizes these paintings within Sher-Gil's personal experiences and the broader historical and cultural landscape of her time.