ANUPAM SUD was born in Hoshiarpur,1944. She studied at the Delhi College of Art, and then received further training at the Slade School of Fine Arts, London. She held her first solo show in 1967 in New Delhi, which was followed by numerous other solo exhibitions in 1969, 1977, 1988 & 1989 both in India and in 1991 in America. She has also participated widely in group exhibitions including the Third, Fourth and Fifth International Triennale's, in Florence and France. And New Delhi (1974, 1978 and 1982), the Women's International Exhibition, New York (1975) and the Wounds Exhibition, CIMA Gallery, Calcutta and National Gallery of Modern Art, New Delhi (1993) and in 1992, 1994, 1995, 1996 and 1999.Her work is part of the permanent collections of National Gallery of Modern Art, New Delhi, the Victoria and Albert Museum, London at the Chester & Davida Hurwitz collections USA and the Lalit Kala Akademie, New Delhi. Recognized as one of India's foremost female painter and printmaker she received the Gold Medal at the Women's International Art Exhibition, New Delhi in 1975 the Sahitya Kala Parishad in 1976 and the Printmaking Fellowship Award from the Center for International Contemporary Arts, New York, in 1990.She has participated in various Auctions: Sotheby%u2019s 1996, Christies 1999, Bonham's 2002, Save the Children India conducted by Bowrings, 2002 at Mumbai. She lives and works in New Delhi. " I produce very little. Three or four paintings and three or four prints a year. The prints, particularly, take very long. I need to sculpt the plate, keep working on it until it has the richness that I want, the gentle rounded lightness in the dark shadows, all the tones of grey". STATEMENT "Most of my works are reflections of the environment and people around-the reality existent in their minds which is more real and meaningful for me than mere physical reality... Anupam Sud, Indian Printmaking Bombay, Jehangir Art Gallery publications, 1985 Today. "My work and interest have nothing to do with the social predicament. The presence of the figure is purely to establish the psychic relationships and balance between the animate and the inanimate. My involvement is thus basically with a sense of the gestalt that can be completely destroyed if in my place of concern with formal, rhythmic relationships, the observer substitutes a concern with a socio-economic commitment.