Hill people in red and black file along a yellow path under dark trees

A procession of hill people moves across a saffron-yellow path beneath a dark green wood: a woman in a long crimson veil, another in a striped maroon shawl beside a tall wicker basket, men in black, and a small figure in white at the turn of the path. Red blossoms are scattered through the trees at the upper left, two bare saplings stand against the olive haze, and the black silhouette of a tree trunk fills the right edge. Painted at Simla in 1938, it belongs to the group of hill scenes in which Sher-Gil reduced the Himalayan villagers to flat, solemn shapes of colour.

Amrita Sher-Gil (1913–1941) was born in Budapest to a Sikh aristocrat and a Hungarian opera singer, trained at the École des Beaux-Arts in Paris, and returned to India in 1934 determined to paint the country's people rather than its picturesque surface. In the seven years left to her she fused the flat colour and frontal stillness of Ajanta murals and Pahari miniatures with the Post-Impressionist lessons of Gauguin and Cézanne, producing the foundation of modern Indian painting. She died in Lahore at twenty-eight; her work is declared a National Art Treasure by the Government of India and is held chiefly by the National Gallery of Modern Art, New Delhi.

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