Lot 64
  • 64

Francis Newton Souza

Estimate
15,000 - 20,000 GBP
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Description

  • Francis Newton Souza
  • The Angelus (after J. F. Millet)
  • Signed and dated 'Souza 71' upper left and further signed, dated, titled and inscribed 'F.N. SOUZA / THE ANGELUS-1979 / AFTER J. - F. MILLET / OIL ON CANVAS-BOARD / 25 X 30 / F.N. SOUZA / THE ANGELUS / OIL ON CANVAS ON BOARD' on reverse
  • Oil on canvas laid on board
  • 62.9 x 76.2 cm. (24 ½ x 30 in.)
  • Painted in 1971

Provenance

Acquired from Surya Galerie, Germany in 1976

Exhibited

Freinsheim, Surya Galerie, F. N. Souza, 10 October - 5 November 1976

Condition

There is a vertical abrasion parallel to the upper right edge and some pinhole sized losses visible under very close scrutiny. Slight surface dirt is present which is consistent with the age and medium. This painting is in good condition overall, 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."

Catalogue Note

This 1971 work by Francis Newton Souza is an homage to the 19th century French painter, Jean-Francois Millett’s iconic painting The Angelus. Salvador Dalí also paid tribute to this work much earlier, in 1933.

In the early 1970s, Souza travelled across America, and is known to have produced a series of very bright “countryside” paintings which were remarkably the most cheerful of his entire artistic production. While the composition and structure of the rural scene (with the enlarged figures in foreground enveloped by the horizon in the background) is a direct stimulus from Millet’s work, the colours are obviously Souza’s own. In a characteristic way, he lives up to the reputation of a figurative action painter by rendering the man and woman reciting the Angelus prayer in vibrant hues. Souza’s harsh expressionistic brushwork is successful in unleashing the scene from its ritualistic character. This contrast exemplifies Souza’s well-known antipathy towards religion and his refusal to accord any deference to biblical figures.