Later in 1937, she toured South India and produced her South Indian trilogy of paintings "Bride's Toilet", "Brahmacharis", and "South Indian Villagers Going to Market" following her visit to the Ajanta Caves, when she made a conscious attempt to return to classical Indian art. These paintings reveal her passionate sense of color and an equally passionate empathy for her Indian subjects, who are often depicted in their poverty and despair. By now the transformation in her work was complete and she had found her 'artistic mission' which was, according to her, to express the life of Indian people through her canvas. While in Saraya Sher-Gil wrote to a friend thus: "I can only paint in India. Europe belongs to Picasso, Matisse, Braque... India belongs only to me". Her stay in India marks the beginning of a new phase in her artistic development, one that was distinct from the European phase of the interwar years when her work showed an engagement with the works of Hungarian painters, especially the Nagybanya school of painting.