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With the advent of the British on the Indian scene, a number of changes took place in our social milieu and economic set-up. Our traditional way of life, socio-economic-cultural set-up and values received a rude jolt. The situation in the field of art was no less dismal. The days of traditional schools were over. The art schools set up by the British government imparted instruction that was neither related to our past nor to contemporary European art that burgeoned with the spirit of new experiments; the emphasis was solely on outdated academics.
Painters not only of Punjab but all over India were wallowing in a state of utter hopelessness for lack of direction and guidance. There were two dominant schools of painting in India at that time. The Bengal school whose adherents were turning out maudlin imitations of ancient Indian styles, aiming at a kind of romantic revival of India's glorious artistic heritage and the Bombay School of Art mainly engaged in poor imitations of western academic painting.
The painters of both these schools could hardly play the role of torchbearers. At such a critical period of transition, a powerful personality was needed to show the light to painters groping in the dark. Art forms were clamouring for a powerful expression. This void was filled not by a man but a woman painter of Punjab.
Amrita Shergil who, soon after her arrival on the art scene, took not only Punjab but also the entire country by storm. Amrita Shergil was not a product of Indian or Punjabi socio-cultural milieu. She was the daughter of Sardar Umrao Singh Shergil and Antoinette, a Hungarian lady endowed with considerable artistic talent. She was born in Budapest in , and spent the formative years of her life in Europe. She dabbled in paint from her early childhood.
