Blending elements of both Pahari and Parisian influences, the painting depicts a group of village women occupied by ordinary tasks such as chewing betel nut and waving a fan, unconcerned about their surroundings, while a baby cow is seen nosing its way among them.
The trilogy had tired her out and her next set of paintings would be smaller, including The Story Teller, considered by Sher-Gil herself to be one of her 12 most significant pieces.
Art historian and critic Deepak Ananth felt that Sher-Gil was "opting for a less grandiose, more relaxed attitude to her Indian subjects".
[5] Art critic Richard Bartholomew noted her to have played a significant role in shaping the authentic voice and vision of modern Indian painting.
[10] Sher-Gil herself chose The Story Teller as one of her top 12 most significant pieces, and is widely regarded as one of her most sincere and expressive compositions.
[5][11] At the centre is a group of village women cosily occupied by ordinary tasks such as chewing betel nut and waving a fan, unconcerned about their surroundings, while a baby cow is seen nosing its way among them.
[9] The painting was one of 33 of Sher-Gil's works displayed at her solo exhibition at Faletti's Hotel in Lahore, British India, held from 21 to 27 November 1937.
[3] Charles Fabri, an art critic for the Civil and Military Gazette and present at the 1937 Lahore exhibition was quoted as saying that "Miss Sher-Gil's oeuvre is essentially modern without being fantastic.
"[9][14] Art historian and critic Deepak Ananth felt that Sher-Gil was "opting for a less grandiose, more relaxed attitude to her Indian subjects".
This makes her a cherished national treasure, a symbol of empowerment and someone whose work ushered in profound social change.”[12] Indian sculptor Neeraj Gupta calls the painting "an honest and empathetic portrayal much like the artist herself".
[13][14] On 19 September 2023 Sher-Gil's The Story Teller was featured in Saffronart's Evening Sale: Modern Art, alongside over 70 works by celebrated artists including M. F. Husain, Vasudeo S. Gaitonde, Jamini Roy, and F. N.