Women in red push a swing beneath a white shrine and rose bushes

Four women in reds — crimson, vermilion and wine — gather around a rope swing in a garden. The swinger sits in a brilliant orange-red veil, her head bowed as she grips the ropes; a girl at the left tends a rose bush bright with red blossoms, and two companions at the right lean in to push, one wearing gold earrings. Beyond a low white wall, a white-domed shrine and bare trees stand against an ochre sky, and a pair of wooden sandals lies discarded on the ground. Painted at Saraya in 1940 (signed and dated lower left), it was among the last canvases Sher-Gil finished — a village scene turned into a near-abstract arrangement of reds on gold.

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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