Francis Newton Souza (1924-2002)

Oil on board with linear drawing in thick brushwork, not apparent in catalogue illustration. Minor abrasion in sky of upper left corner and center, not visible in catalogue illustration. Minor abraisions along left edge of painting. Appears to have recently been cleaned and varnished. Otherwise good overall condition. Richness and thickness of paint not apparent in catalogue illustration. Greater tonal variations and coloring deeper in original than catalogue.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The depiction of the nude and the townscape within the same composition represents the two themes of sex and religion that were pivotal to Souza's work. In 1964 during an interview with Mervyn Levy Souza states, 'For me the all pervading and crucial themes of the predicament of man are those of Religion and Sex.'

Souza's iconic townscapes often echo stained glass windows and cathedral architecture. By placing the nude alongside this religious backdrop the artist presents his very own 'divine predicament.' Souza was brought up in a land of ancient beliefs that venerated the female form as a symbol of fertility but as a Roman Catholic nudity and sex were frequently directly associated with Original Sin. The abundance of religion and sex in Souza's work is linked with the defiance of the Roman Catholic church. He writes, 'as a Roman Catholic youth born in Goa, I was familiar with the priests bellowing sermons from pulpits against sex and immodesty particularly addressed to women making them stricken with guilt.' (F.N. Souza "Naked Women and Religion," Debonair, 1992).

The heavy thick black impasto used on a black ground is a pre-cursor to his black on black paintings that were produced for an exhibition at the Grosvenor Gallery in 1965. These paintings were an experiment in monochrome in the vein of Yves Klein and challenged the traditional notion of color and form.