Jews From Hungary

"The self-portraits display the artist moving from girl to woman to artist as she explored a sensuality that ranges from the heavy-handed to the subtle. Sher-Gil casts herself in a serious light in her Self-Portrait with Easel (1930), moving deliberately from the domestic and the intimate context of the nineteenth-century woman artist to the monumental and majestic poses recalling those of Rembrandt and later Van Gogh. Indira dressed as a European gentleman with Amrita dressed as her female partner."

"At stake was not only a serious and viable artistic career as a woman, but the development of a subjectivity that was being defined through the self-portrait. conscious of being both muse and maker, Sher-Gil took on the position of artist and object with a double consciousness of being both.”"

"I was positively stunned and have straightaway become a votary of Mathura art to the exclusion of all the other and later schools. I had some of the things in reproductions but never dreamt they were so magnificent. With the possible exception of Mahabalipuram I don’t think I have seen anything in Indian sculpture that I liked so much."

"Amrita's life was more colourful than the bright colours she used in her paintings—this is a good look at it."

"These little compositions are the expression of my happiness and that is why perhaps I am particularly fond of them."

"I was positively stunned and have straight away become a votary of Mathura art to the exclusion of all the other and later schools."

"It is dreadful to think of Paris in German hands but what preoccupies me still more is what is going to happen to modern French art and the younger artists."

"The Brahmacharis as the most difficult thing she had ever done....don't you think I have learnt something from Indian painting?...I don't know whether it is a passing phase or a durable change in my outlook but I see in a more detached manner, more ironically than I have ever done."

"Art in India was never the same after her comet like appearance. There are only a few moments in the history of art which pinpoint a new departure, a new direction. Such a moment in the history of modern Indian art was the appearance in the mid-thirties of Amrita Sher-Gil with whose paintings contemporary paintnig in India took shape and demonstrated the possibility of a contemporary style and expression that were, at the same time, of the soil and in direct continuation of the great national past."

"I am always in love, but unfortunately for the party concerned, I fall out of love or rather fall in love with someone else before any damage can be done."

"Modern art has led me to the comprehension and appreciation of Indian painting and sculpture. It seems paradoxical but I know for certain that had we not come away to Europe, I should perhaps never have realised that a fresco from Ajanta or a small piece of sculpture in the Musee Guimet is worth more than a whole Renaissance.'"

"She was very fair and there was an expression of weariness in the lovely liquid dark eyes. Her little finely curved and red hued lips seemed like drooping rosebuds and were sealed as if it were in silence eternal....she seemed as if she guessed the cruel fate which had been meted out for her by the Rani and Rajah and her other rich but distant relations in whose hands she seemed a helpless toy."

"...was to interpret the life of Indians and particularly the poor Indians, pictorially."

"Traditions that were once vital, sincere and splendid and which are now merely empty formulae, [nor to imitate fifth rate western art slavishly] break away from both and produce something vital, connected with the soil, something essentially Indian."

"The life of Indians, particularly the poor, pictorially....with a new technique, my own technique...and this technique though not technically Indian, in the traditional sense of the word, will yet be fundamentally Indian in spirit."

"I shall in future be obliged to resign myself to exhibiting them (her paintings) merely at the Grand Salon, Paris, of which I happen to be an Associate and the Salon de Tuileries known all over the world as the representative exhibition of Modern Art, and to which I have been invited to participate in the past, a distinction I may add that few can boast of."

"I cannot control my appetiate for color, and I wonder if I ever will."

"Towards the end of 1933 I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter."

"My art is not a career, it is myself and I know myself best!"

"She [Sher-Gil] melded the Western and Indian idioms and did not, like many other artists of her time, attempt to find an authentic ‘Indian’ mode or weave together a nationalist agenda."

"In "Toward a Development of a Cosmopolitan Aesthetic""

"Europe belongs to Picasso, Matisse and many others, India belongs only to me."

"Amrita Sher-Gill: Art and Life: A Reader (page xvii)"

"Revelations. Ellora magnificent. Ajanta curiously subtle and fascinating-I have for the first time since my return to India learnt something from somebody else's work."

"The trouble with theorists is, they never pay attention to the experiments!"

"Feynman was not a theorist's theorist, but a physicist's physicist and a teacher's teacher. Feynman's theoretical concepts opened up research opportunities for experimenters, and his approach to physics dignified the role played by their work."

"What is very important to me is two points: A theory should be internally consistent and it should have some contact with observation. Well, I’m told by all the experts that this theory String theory] is internally consistent, although they think up new interpretations every time I turn my back. But contact with reality? Nobody’s given me anything. I just watch. I’m somewhat unhappy that so many people are working on it. To me, as a physicist, it’s sort of sad that so many people at the same time work at something that doesn’t seem to have any contact with experiment. But that, to some extent, is due to the fact that we don’t have any great experimental puzzle to be thinking about. We have to supply the puzzles, and there aren’t that many puzzles right now."

"How can we do justice even when it concerns truth itself, since for me only one truth exists, my truth, even if it is a delusion, yes, my delusion; my delusion."

"Auschwitz, I told her, appears to me in the image of a father; yes, the two terms, Auschwitz, and father, resonate the same echoes in me, and if the observation is that God is an exalted father, then God, too is revealed to me in the image of Auschwitz."

"If one takes the path of success, then one ends up either successful or unsuccessful, there is no third alternative."

""No" — I could never be another person’s father, fate, god, "No" — it should never happen to another child, what happened to me; my childhood. (Auschwitz)."

"Everyone here makes a botch of his life. That's the local specialty, the genius loci. Anyone who doesn't botch up his life here simply has no talent."

"My body is foreign to me that body that sustains me and will, ultimately, kill me."

"Cognitively we don’t know and will never discover what occasions the cause of our existence, we don’t know the purpose of our existence and we don’t know why we have to disappear from here once we have been placed here, I don’t know, why I have to live this fragmentary existence, which happened to be my lot, instead of a life that perhaps does exist somewhere. Why did I get this lot? This sex, this body, this awareness, this geographic setting, this fate, this language, this history, this rented room?"

"I have felt that some sort of awful shame is attached to my name and that I have somehow brought this shame along from somewhere I have never been, and that I have carried this sin as my sin even though I have never committed it; this sin pursues me all my life, which life is undoubtedly not my own even thought I live it , I suffer from it die of it."

"I read somewhere; while God still existed one sustained a dialogue with God, and now that He no longer exists one has to sustain a dialogue with other people, I guess, or, better still, with oneself, that is to say, one talks or mumbles to oneself."

"He liked the style, that wry gallows humor armed with the semblance of omniscience; a most serviceable style it was, the dialect of the initiated, protecting them from their disillusionments, their fears, their well-concealed childish hopes."

"... mert ami valóban irracionális, az nem a rossz, ellenkezőleg: a jó."

"Failure alone remains as the one single accomplishable experience;"

"The world is not our imagination but our nightmare, full of inconceivable surprises."

"By way of that wretched sentence "Auschwitz cannot be explained" is the wretched author explaining that we should be silent concerning Auschwitz, that Auschwitz doesn’t exist, or, rather, that it didn’t, for the only facts that cannot be explained are those that don’t or didn’t exist."

"I do what I have to do, although I don’t know why I have to."

"I live and occasionally I look up at the glorious air or the clouds into which I keep digging my grave with my pen, diligently, like a forced laborer, whom they order every day to dig deeper with his spade…"

"Nothing upsets me as much as a shop window jammed full of objects; such windows literally depress, sadden, even demoralize me."

"True, he had been living a lively interior life today: he had dreamed something, he had awoken with an erection, and while shaving he had been dogged by a feeling that today he needed to decide, though he could not see clearly what it was he needed to decide, besides which he was all too aware of his own inability to make any decisions. Despite that, the thought did cross Kingbitter's mind that he ought to do something about finding a theater to do the play, the comedy (or tragedy?) "Liquidation." He was now in the ninth year of considering that. Indeed, Kingbitter was now in the ninth year of considering whether he was handling the literary estate with due diligence."

"The sentence "Auschwitz cannot be explained" is faulty simply from a formal point of view, for anything that is has an explanation, even if by necessity a merely self-serving faulty, so so explanation."

"Talking is not enough; words don’t clarify anything. I’ll have to hit upon something, but what?"

"At any rate I found myself writing because I had to write, although I didn’t know why."

"But there are times when being happy — just happy, nothing else — is simply vile." "Why?" Jill inquired. "Because," Enrique reasoned, "one cant be happy in a place where everybody is unhappy."

"For me this is a fact, writing is necessity, I don’t know why, but it seems it was the only solution offered to me, even if it doesn’t solve anything; still it doesn't leave me…"