Francis Newton Souza (1924 - 2002)

Overall good condition. Thick application of paint on linen, not canvas as stated in catalogue. Minor cracking and chipping in a few areas. Colors fresher and with stronger contrast than in catalogue illustration.
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.

Souza's early cityscapes tend to follow a deceptively simple rectilinear structure with bold black outlines that enclose glowing colors, but by the early 1960s, distortions of form become characteristic of his vision of the city. Art historian Yashodhara Dalmia notes: "The tumbling houses in their frenzied movement are symbolic of all things falling apart, of the very root of things being shaken ..." (Yashodhara 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-WWII angst that influenced other British-based artists, such as Francis Bacon and TS Eliot. "The landscapes, architectonic with their 'cubic factors' are ultimately lyrical. There is an unrestrained enthusiasm, a liberty in the application of color that is swiftly applied with a palette knife, creating sooth pulsating textures." (Anthony Ludwig, Souza, Dhoomi Mal Gallery Exhibition Catalogue)