Francis Newton Souza (1924 - 2002)

Aziz Kurtha, Francis Newton Souza: Bridging Western and Indian Modern Art, Ahmedabad, 2006, p.164

Overall condition good. Oil on linen and not canvas as stated in catalogue. Would benefit from restretching.
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The current work is one of only a few known works created by Souza in charcoal and oil pastel. The simple black parallel contouring and bold primary colors lend a childlike aesthetic to this haunting, figurative work. The background, filled with basic geometric shapes suggesting green foliage, outlines the central figure; while the roughly hewn medieval tunic and the subtle halo of light behind his head alludes to the figure's identity.

Influenced by his devout Roman Catholic upbringing, Souza made regular artistic reference to Christian figures: Jesus and his disciples, the Madonna, and a litany of popes, prophets and saints frequently populate Souza's canvases. In the artist's own words: "The Roman Catholic Church had a tremendous influence over me, not its dogmas but its grand architecture and the splendor of its services. The priest, dressed in richly embroidered vestments, each of his garments from the biretta to the chasuble symbolizing the accoutrement of Christ's passion. These wooden saints painted with gold and bright colors, staring vacantly out of their niches; the smell of incense; the enormous crucifix with the impaled image of a man supposed to be the Son of God, scoured and dripping, with matted hair in plaited thorns. I would kneel and pray for hours. When the Sacristan came around with the collection plate I would drop on it, with great satisfaction, the large copper coin given me by my grandmother. I felt I had paid an installment for the salvation of my soul." (FN Souza, Words and Lines, London, 1959, p.10)

In 1961, the year of the current work, Souza exhibited his fifth solo exhibition at Gallery One in London during the height of the first wave of his commercial success. Between his first solo exhibition in England in 1955 until 1963, Souza exhibited widely in London, Paris and Bombay, and works from this period are thought to represent a high point in his career.

During this period of Souza's golden reviews, journalist Guy Brett of The Guardian wrote: "... Most critics and dealers whose job it is to spot emerging talent cherish the belief that quite independent of activities of the so-called avant-garde, there are always and will be great figurative painters. Somewhere or other, they feel there must be a man, a Van Gogh, who is really painting from the bottom of his heart ... FN Souza seems to be the perfect candidate for this category." (Aziz Kurtha, Francis Newton Souza: Bridging Western and Modern Indian Art, Ahmedabad, 2006, p.41)