Francis Newton Souza

Purchased by the current owners during the late 1960s.

Overall very good condition, colours of original considerably brighter, fresher and more vibrant than catalogue illustration, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Souza's early cityscapes tend to follow a deceptively simple rectilinear structure with bold black outlines that enclose glowing colors, but by the early 1960's distortions of form become characteristic of his vision of the city.  'His early cityscapes follow a rectilinear structure, which later in the 1960's give way to an apocalyptic vision.  The tumbling houses in their frenzied movement are also symbolic of all things falling apart, of the very root of things being shaken.' (Y. Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi, 2001, p. 93). This apocalyptic vision appears to be inspired by the same post-War angst that had influenced other British based artists like Francis Bacon and writers such as T.S. Eliot.