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Michael
Michael
@mdstamper.bsky.social
2 weeks ago
Painted in 1935, soon after Hungarian Indian artist Amrita Sher-Gil returned to India from her studies in Paris, France, this work is often described as a turning point in her career. She moved away from European academic finish toward a more distilled, modern language shaped by Indian subjects, compressed space, and broad zones of color. The painting is also known as “Three Girls” and has been discussed under related titles, including “The Three Women.” Three young women sit close together against a spare, warm background, their skin modeled in soft brown and clay tones. Each wears draped clothing in earthy reds, creams, and muted pinks, with dark black hair parted and smoothed back. The figure at left turns slightly inward, her face lowered and contemplative. The central girl sits upright with her expression still and distant. The figure at right leans subtly forward, her head inclined, her body wrapped in a deeper red-orange garment. None of the three meets our gaze. Instead, their downcast eyes and quiet poses create a shared mood of inwardness, gravity, and emotional restraint. Sher-Gil flattens the space so the women feel pressed near the picture plane, emphasizing their presence over setting or anecdote. Rather than idealizing youth, Sher-Gil gives these women dignity, weight, and psychological depth. Their closeness does not read as cheerful intimacy. It feels like shared silence, perhaps even shared burden. That emotional seriousness is part of what made the painting so powerful in the history of modern Indian art. It won a gold medal from the Bombay Art Society and remains one of Sher-Gil’s defining images of South Asian women’s interior lives being depicted with empathy, modernist clarity, and unmistakable force.

Painted in 1935, soon after Hungarian Indian artist Amrita Sher-Gil returned to India from her studies in Paris, France, this work is often described as a turning point in her career. She moved away from European academic finish toward a more distilled, modern language shaped by Indian subjects, compressed space, and broad zones of color. The painting is also known as “Three Girls” and has been discussed under related titles, including “The Three Women.” Three young women sit close together against a spare, warm background, their skin modeled in soft brown and clay tones. Each wears draped clothing in earthy reds, creams, and muted pinks, with dark black hair parted and smoothed back. The figure at left turns slightly inward, her face lowered and contemplative. The central girl sits upright with her expression still and distant. The figure at right leans subtly forward, her head inclined, her body wrapped in a deeper red-orange garment. None of the three meets our gaze. Instead, their downcast eyes and quiet poses create a shared mood of inwardness, gravity, and emotional restraint. Sher-Gil flattens the space so the women feel pressed near the picture plane, emphasizing their presence over setting or anecdote. Rather than idealizing youth, Sher-Gil gives these women dignity, weight, and psychological depth. Their closeness does not read as cheerful intimacy. It feels like shared silence, perhaps even shared burden. That emotional seriousness is part of what made the painting so powerful in the history of modern Indian art. It won a gold medal from the Bombay Art Society and remains one of Sher-Gil’s defining images of South Asian women’s interior lives being depicted with empathy, modernist clarity, and unmistakable force.

“Group of Three Girls” by Amrita Sher-Gil (Hungarian Indian) - Oil on canvas / 1935 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #WomensArt #art #artText #arte #AmritaSher-Gil #AmritaSherGil #SherGil #Sher-Gil #NGMA #IndianArt #NationalGalleryOfModernArt #WomanArtist #WomenArtists

57 11 0 1
Michael
Michael
@mdstamper.bsky.social
1 month ago
Two women occupy a tall, narrow composition with a striking contrast of poses and garments. At left, a seated woman with deep brown skin, strong red lips, and large almond eyes faces forward with a steady gaze. She is wrapped in layered blue-green drapery and head covering. One hand extends across her lap, fingers holding her knee. At right, a second woman stands in profile, head bowed, wearing a luminous white veil and robe that nearly merges with the pale wall behind her. Her hand rises to her chin in a thoughtful gesture. A broad, simplified green plant enters from the upper left. Hungarian-Indian artist Amrita Sher-Gil uses muted creams, gray-greens, blue, and warm ochre, with soft brushwork and flattened space, to create stillness and emotional gravity. These women are not presented as decorative types. They are rendered as distinct presences with one meeting the viewer’s gaze, one turning inward. The composition stages a quiet emotional dialogue through contrasts like seated/standing, frontal/profile, blue/white, and engagement/reflection. The broad empty wall becomes active space, heightening silence and psychological weight. Sher-Gil’s handling of form reflects her synthesis of European modernist structure and an Indian-centered figural vision. The result is intimate yet unsentimental, with dignity carried through posture, stillness, and the careful modeling of hands and faces. Painted in the mid-1930s, this work belongs to the crucial period after Sher-Gil’s return from Paris, when she shifted toward subjects in India and developed the earthier palette and monumental figuration that define her mature style. Born in Budapest to a Hungarian mother and Sikh father, she was in her twenties yet already a formidable painter, using portrait and genre imagery to challenge idealized or colonial ways of seeing. In works like this, women are neither background figures nor symbols alone. They are complex subjects shaped by mood, social reality, and self-possession.

Two women occupy a tall, narrow composition with a striking contrast of poses and garments. At left, a seated woman with deep brown skin, strong red lips, and large almond eyes faces forward with a steady gaze. She is wrapped in layered blue-green drapery and head covering. One hand extends across her lap, fingers holding her knee. At right, a second woman stands in profile, head bowed, wearing a luminous white veil and robe that nearly merges with the pale wall behind her. Her hand rises to her chin in a thoughtful gesture. A broad, simplified green plant enters from the upper left. Hungarian-Indian artist Amrita Sher-Gil uses muted creams, gray-greens, blue, and warm ochre, with soft brushwork and flattened space, to create stillness and emotional gravity. These women are not presented as decorative types. They are rendered as distinct presences with one meeting the viewer’s gaze, one turning inward. The composition stages a quiet emotional dialogue through contrasts like seated/standing, frontal/profile, blue/white, and engagement/reflection. The broad empty wall becomes active space, heightening silence and psychological weight. Sher-Gil’s handling of form reflects her synthesis of European modernist structure and an Indian-centered figural vision. The result is intimate yet unsentimental, with dignity carried through posture, stillness, and the careful modeling of hands and faces. Painted in the mid-1930s, this work belongs to the crucial period after Sher-Gil’s return from Paris, when she shifted toward subjects in India and developed the earthier palette and monumental figuration that define her mature style. Born in Budapest to a Hungarian mother and Sikh father, she was in her twenties yet already a formidable painter, using portrait and genre imagery to challenge idealized or colonial ways of seeing. In works like this, women are neither background figures nor symbols alone. They are complex subjects shaped by mood, social reality, and self-possession.

“Two Women” by अमृता शेर-गिल Amrita Sher-Gil (Hungarian-Indian) - Oil on canvas on board / c. 1935-1936 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AmritaSherGil #Sher-Gil #अमृताशेरगिल #SherGil #AmritaSher-Gil #NGMA #artText #IndianArtist #IndianArt

46 9 0 0
@curinaction.bsky.social
2 months ago
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Grant Dialogues is a two-day grant writing and management program designed to help you navigate the complex, ever-changing grant funding landscape.
 
Learn more at https://www.cur.org/events-services/dialogues/

#GrantDialogues #NGMA #UndergraduateResearch #Funding

0 0 0 0
Michael
Michael
@mdstamper.bsky.social
2 months ago
“Binodini” is widely recognized as a portrait of Indian artist Ramkinkar Baij’s student and muse from Manipur, Maharaj Kumari M. K. Binodini Devi who was an artist and later a major literary figure. Her presence appears across his works during his Santiniketan years. The painting is less a society likeness than a study of interior life showing how a young woman occupies space, carries expectation, and claims a self, even while the world around her feels unsettled and newly forming in the late 1940s. She is depicted as a young Indian woman with medium-light brown skin sitting close to the picture plane, her slim body folded into a compact pose. One knee rises high, creating a strong diagonal across her torso, while her shoulders tilt slightly as if she has just shifted her weight. Long, dark hair falls over one shoulder. Her softly oval face with wide, focused eyes and a small, closed mouth meets our gaze directly, giving the moment a quiet intensity. A loose pale sari crosses her chest and bunches over the lifted knee as the yellow-green garment pools around her legs. Both hands reach down toward a table at the bottom edge, fingers spread and lightly tense, as if preparing to pick up a small, light rectangle paper or magazine near her hands. The background is mottled with warm oranges and muted greens, and the coarse weave of the gunny cloth shows through the paint, making the whole surface feel gritty, tactile, and alive. Painted in 1948 and 1949, the work’s rough support is not incidental as gunny cloth brings everyday materiality into a portrait that is psychologically charged rather than decorative, letting texture and abrasion stand in for uncertainty, restlessness, and emotional friction. In Baij’s image, her forward gaze and lowered, splayed hands read like a body caught mid-decision, perhaps poised between holding herself together and moving forward.

“Binodini” is widely recognized as a portrait of Indian artist Ramkinkar Baij’s student and muse from Manipur, Maharaj Kumari M. K. Binodini Devi who was an artist and later a major literary figure. Her presence appears across his works during his Santiniketan years. The painting is less a society likeness than a study of interior life showing how a young woman occupies space, carries expectation, and claims a self, even while the world around her feels unsettled and newly forming in the late 1940s. She is depicted as a young Indian woman with medium-light brown skin sitting close to the picture plane, her slim body folded into a compact pose. One knee rises high, creating a strong diagonal across her torso, while her shoulders tilt slightly as if she has just shifted her weight. Long, dark hair falls over one shoulder. Her softly oval face with wide, focused eyes and a small, closed mouth meets our gaze directly, giving the moment a quiet intensity. A loose pale sari crosses her chest and bunches over the lifted knee as the yellow-green garment pools around her legs. Both hands reach down toward a table at the bottom edge, fingers spread and lightly tense, as if preparing to pick up a small, light rectangle paper or magazine near her hands. The background is mottled with warm oranges and muted greens, and the coarse weave of the gunny cloth shows through the paint, making the whole surface feel gritty, tactile, and alive. Painted in 1948 and 1949, the work’s rough support is not incidental as gunny cloth brings everyday materiality into a portrait that is psychologically charged rather than decorative, letting texture and abrasion stand in for uncertainty, restlessness, and emotional friction. In Baij’s image, her forward gaze and lowered, splayed hands read like a body caught mid-decision, perhaps poised between holding herself together and moving forward.

“বিনোদিনী (Binodini)” by রামকিঙ্কর বেইজ / Ramkinkar Baij (Indian) - Oil on gunny cloth / 1948–1949 - National Gallery of Modern Art (New Delhi, India) #WomenInArt #NGMA #RamkinkarBaij #রামকিঙ্করবেইজ #Baij #BlueskyArt #ModernIndianArt #Santiniketan #artText #IndianArt #arte #PortraitofaWoman #art #IndianArtist

35 6 2 0
@curinaction.bsky.social
2 months ago
Post image

Grant Dialogues is a two-day grant writing and management program designed to help you navigate the complex, ever-changing grant funding landscape.
 
Learn more at https://www.cur.org/events-services/dialogues/

#GrantDialogues #NGMA #UndergraduateResearch #Funding

0 0 0 0
@curinaction.bsky.social
3 months ago
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Early-Bird rates end on Friday, December 12, 2025, so don't delay in registering for this revamped two-day grant writing and management program.
 
https://www.cur.org/events-services/dialogues/

#GrantDialogues #NGMA #UndergraduateResearch #Funding

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Dallas Voice
Dallas Voice
@dallasvoice.bsky.social
7 months ago

ocal. Trusted. Authentic.
Every click, every share, every show of support helps keep LGBTQ journalism strong, visible, and independent.

#LGBTQMedia #RepresentationMatters #QueerVoices #IndependentMedia #NGMA

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Proceedings of the IEEE
Proceedings of the IEEE
@proceedingsieee.bsky.social
11 months ago
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Next-generation #wirelessnetworks need to be faster and more connected. Join experts at our #freewebinar to explore how next-generation multiple access is powering to the future of connectivity—supporting diverse device, ubiquitous coverage, and built-in intelligence: bit.ly/4kWHbLU
#NOMA #6G #NGMA

1 0 0 0
Proceedings of the IEEE
Proceedings of the IEEE
@proceedingsieee.bsky.social
1 year ago
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Join us on April 28 at 1 PM ET for a free webinar on Next-Generation Multiple Access! Our expert panelists will explore state-of-the-art research and highlight novel technologies that drive advancement in this field.

Learn more and register now: bit.ly/4kWHbLU

#wirelesscommunications #NOMA #NGMA

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A Girl Is No One
A Girl Is No One
@tbcanav.bsky.social
1 year ago
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Here to learn and grow in my profession! #NGMA #AGT2025

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The Grapple Of Your Eye
The Grapple Of Your Eye
@grappleofyoureye.bsky.social
1 year ago
Preview
Ep. 7: Bryony Tyrell In this week’s episode we chat with Bryony Tyrell, the reigning Snake Pit Catch Wrestling World Flyweight Champion, British Freestyle Wrestling Champion and Pro MMA Champion.  Bryony tra…

thegrappleofyoureye.com/2025/01/30/e...

#combatsports #grappling #mma #wmma #wrestling #snakepit #martialarts #coaching #competing #nurse #mum #crazylife #ngma #crossface #wessexwrestling #podcast #killabee #notbrokenyet #catchwrestling

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easymanwer - Men's Mental Health
easymanwer - Men's Mental Health
@easymanwer.bsky.social
1 year ago

#NovembersGayMensVisibility
#NovembersGayMensAppreciation
#NovembersGayMensAwareness
#NGMV
#NGMA

#MovembersGayMensVisibility
#MovembersGayMensAppreciation
#MovembersGayMensAwareness
#MGMV
#MGMA

#Novembers #Movembers

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