A white church spire over a grey winter market of carts and black coats

Under a slate-grey sky, the white tower and black spire of a village church rise over a long building with a red-tiled roof. Below, villagers in black coats and shawls crowd a winter market among bare trees: a woman in a green coat sits at the left with a basket of vegetables, wooden handcarts with yellow wheels stand loaded with apples and a yellow pumpkin, and a figure with a red scarf and a basket of eggs rests in the foreground beside a small red flower. Painted at Kiskunhalas in 1938, during Sher-Gil's last stay in Hungary after her marriage to Victor Egan, it shows the palette she had developed in India — flat darks and single bright accents — turned on her mother's country.

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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