Francis Newton Souza

Acquired from Kumar Gallery, New Delhi

New Delhi, Kumar Gallery, Celebration, January 2007

S.K. Jain, Celebration, Kumar Gallery, New Delhi, 2007, illustration cover and p. 32 

There is scattered craquelere and minor losses in the work particularly in areas of heavy impasto. There is slight buckling most notable in the upper left corner of the work. UV Light: the painting has been previously restored and scattered areas of retouching and consolidation are visible throughout under ultra violet light. This work has not been inspected outside its frame. The pinks appear more saturated in print than reality.
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.

Untitled (Still Life with Guitar) carries with it, the stylistic depth and unrestrained strokes that characterize all of Souza’s works. This work contains evident parallels to Picasso’s still life paintings - particularly the guitar was ubiquitous as cubist iconography. Both Picasso and Souza were at the forefront of the modern art movement in their respective countries and this work is a prime example of the cross pollination of ideas. It remains that Souza was “not concerned with representations or verisimilitude, with questions of style or tradition, with problems of nationalism or modernism…” (E. Alkazi, Souza’s Seasons in Hell, Art Heritage, New Delhi, Season 1986-1987, p. 77). With a worldview that was not framed by a prescribed set of values or categories, it is perhaps no surprise that Souza’s work explored the abstraction and deconstruction of form.
Souza’s artistic trajectory was varied in subject matter; from nudes to landscapes and still life paintings, the resolute and almost heavy-handed black outlines and aggressively distorted forms have become distinctive of his stylistic choices. Reflecting typically cubist renderings, the work appears flat and the subject matter obscured – barring the guitar, which serves as a visual focal point. However, Souza’s application of paint is far from flat with his brushstrokes layered, varied and apparent. This methodology adds a certain movement and vitality to an otherwise still life work.