In 1929, Amrita Sher-Gil joined the Ecole des Beaux Arts in
Paris, and developed therein a visual language characteristic of
'Western' sensibilities, with its naturalism and textured
application of paint.
By the mid 1930's, Sher-Gil's style of painting underwent a
radical change where the colours, textures, vibrancy and the
earthiness of the people had a deep impact on the young artist.
The painting depicts three nude figures: one seated at the
centre, and two on either side. The central figure with her
head
tilted to her right has an expression of grief. In the
foreground we see ornaments scattered on the floor. It is evident
that Sher-Gil's transformation of style is complete by this
period, and the focus is now not so much on realistic portrayal,
but thematic and colour scheme. As Geeta Kapur has written,
Amrita Sher-Gil had to 'act out the paradox of the oriental
subject in the body of a woman designated as Eurasian - a hybrid
body of unusual beauty'
