#ÂngelaTrindade
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“Hindu Girl” by Ângela Trindade (Indian) - Oil on canvas / c. 1948 - Fundação Oriente (Panaji, India) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AngelaTrindade #ÂngelaTrindade #FundaçãoOriente #FundacaoOriente #PortraitofaGirl #IndianArt #artText #BlueskyArt #Trindade #WomenPaintingWomen
A young woman stands at the edge of a shaded veranda, leaning her back against a wall. Her right arm bends up behind her head, lifting the edge of a red-orange veil (dupatta) that drapes over her hair and shoulders. She has light-to-medium brown skin, dark eyes, and straight dark hair mostly covered by the scarf. A small gold earring and a short gold necklace glint in the light. Her face is softly modeled, with a neutral mouth and a direct, steady gaze that meets ours without flinching. Her clothing layers muted blues, grays, and cream beneath the warm veil, tied at the waist with a translucent green sash. At her side sits a large earthenware water jar, its rounded shoulder catching a dim highlight. Behind her, pale columns and a distant railing open onto sunlit arches and rooftops of a courtyard washed in dusty pink and light browns. Broad, blended brushstrokes keep edges slightly hazy, as if heat and shadow are softening the scene. Her covered head and the vessel read as culturally coded signs of modesty and daily responsibility, yet her poised stance and unguarded eye contact give her a quiet authority. Her left arm falls down the side seam of her veil, fingers relaxed, as though the pose has been held only a moment. Painted around 1948, this portrait belongs to Indian (Goan) artist Ângela Trindade’s early figurative period, shaped by Western academic training in Bombay and by the example of her father, the legendary Goan painter António Xavier Trindade. Fundação Oriente notes that she copied several of his works, including a “Hindu Girl” tied to his 1930 Governor’s Award so this canvas feels like both homage to him and self-definition for herself. The jar and veil can signal gendered duty and modesty, yet the sitter’s frontal gaze refuses to be reduced to symbol. In the years around Indian independence, Trindade’s warm realism insists on presence … and a woman seen as a person, meeting us as an equal.
December 29, 2025 at 11:04 PM
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Shakuntala and the Deer by Ângela Trindade (Indian) - Oil on canvas / 1960 - Fundação Oriente (Panaji, India) #womeninart #art #womanartist #womensart #abstractart #AngelaTrindade #Trindade #IndianArtist #FundaçãoOriente #Trindadism #deer #Mahabharata #modernart #femaleartist #artwork #oilpainting
As her work matured, Indian artist Ângela Trindade established her own style of painting, that came to be known as "Trindadism." Using the cultural and spiritual dimensions of the triangle demonstrated an approach to art which highlighted her individuality as an artist. After spending an entire life searching for a language more suited to her times which could also express the oneness of human and divine, Ângela found in the triangle the possibility of bringing together the cultural, artistic and religious influences from the East and West. Rooted in the ancient Indian epic Mahabharata, the story of Shakuntala was dramatized by many famous writers including Kalidasa. At the beginning of the epic Shakuntala is characterized as a nature’s child who has a deer as a pet. The deer gets wounded by the great king Dushyanta, who falls in love with Shakuntala and ends up marrying her. A widely depict epic scene, Trindade’s triangular composition of Shakuntala and the Deer uses a vibrant palette taking full advantage of the symbolic dimension of color to express ideas and emotions. Trindade immigrated to the United States in the 1960s and became a U.S. citizen in 1978 before passing away in 1980. She was famous for her Western-style portraits and religious paintings in the Indian style.Her unique painting style with Trindadism allowed her to establish individuality as an artist. Ângela was born in Bombay in 1909, to Goan parents Florentina Noronha and the renowned artist António Xavier Trindade. Like her father, Trindade enrolled in the Sir J.J. School of Art in Bombay and, during this period, became the first woman painter to be granted a fellowship by the same institution. The artist's western upbringing, liberal education and creative home environment made it easier for her to become one of the first women in India to take up painting as a profession.
March 10, 2025 at 3:12 AM