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Francis Newton Souza

(Goa 1924 -  Bombay 2002 ) Wikipedia® : Francis Newton Souza
SOUZA Francis Newton Untitled (woman In Profile)

Saffronart India /Feb 24, 2016
131.68 - 197.51
25,713.61

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Artworks in Arcadja
1578

Some works of Francis Newton Souza

Extracted between 1,578 works in the catalog of Arcadja
Francis Newton Souza - Untitled

Francis Newton Souza - Untitled

Original 1965
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Lot number: 9
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Description:
F N Souza Untitled Signed, dated and inscribed 'Souza 65/For Peter Paone/friend & artist/London 1-5-67' (upper left) 1965 Acrylic, sketch pen, pen and ink on paper 14 x 10 in (35.6 x 25.4 cm) PROVENANCE: Collection of Peter Paone Collection of Julian Sherrier, London Christie's, New York, 12 September 2012, lot 369 EXHIBITED: The Naked and the Nude: The Body in Indian Modern Art , New Delhi: Delhi Art Gallery, 2 February - 23 March 2013; New York: Delhi Art Gallery, 8 December 2015 - 27 February 2016
Francis Newton Souza - Red Landscape

Francis Newton Souza - Red Landscape

Original 1963
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Lot number: 27
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Description:
Lot Description FRANCIS NEWTON SOUZA (1924-2002) Red Landscape signed and dated 'Souza 63' (lower left); further inscribed and titled 'F.N. SOUZA / RED LANDSCAPE' (on the reverse) oil on canvas 15 ¼ x 22 ¼ in. (38.7 x 56.5 cm.) Painted in 1963 Provenance Kumar Gallery, New Delhi Pre-Lot Text PROPERTY FROM A DISTINGUISHED COLLECTION, LONDON
Francis Newton Souza - Standing Nude

Francis Newton Souza - Standing Nude

Original 1957
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Lot number: 591
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Description:
STANDING NUDE souza francis newton Signed and dated 'Souza 57' upper right and further signed, dated and inscribed 'F.N. Souza / Nude - 1957," on reverse Oil on board 48 x 24 in. (122 x 61 cm.) Painted in 1957 Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Catalogue Note In 1956, on the heels of both the publication of Nirvana of a Maggot and his first solo exhibition at London's Gallery One, Souza was introduced to the American collector Harold Kovner by gallerist Iris Clert in Paris. Kovner was immediately impressed with Souza's work, and thus began a sponsorship of the artist which lasted through 1960. Under Kovner's patronage, Souza could live and work without financial worries for the first time in his life. The Kovner years were extremely productive for Souza, and the artist produced some of his finest and most iconic work, of which the current painting from 1957, Standing Nude, is a magnificent example. In the current work, one finds a tenderness Souza reserves for a rare selection of his female nudes. The naïve young beauty; solid lines outlining the face, illustrated with a geometrically long nose; earthy spare palette; sparse physical ornamentation with a noticeably Mediterranean design and dispassionate gaze, all rendered in thick Georges Rouault-like black lines are distinct features of other nudes from this early period. Layered with thick impasto delivered with heavy slashes of the palette knife, the texture and depth the current work offers the viewer a thoroughly ripe, tactile presentation. Aziz Kurtha articulates, “…there is no attempt to make her look beautiful. ….The apparently pregnant belly… ., a generally expressionless face, framed by a thick mane of hair, are recurrent images in his nudes of that era.” (A. Kurtha, Francis Newton Souza- Bridging Western and Indian Modern Art, Mapin Publishing & Grantha Corporation, Ahmedabad, 2006, p. 153) Among the founding members of the Bombay Progressive Artists Group and the post-Independence innovators, Souza pioneered the frontal nude. Throughout his life, Souza continued to paint nudes in many forms (particularly nubile and young) and they remained central to his work. His early paintings were influenced by the voluptuous forms of classical Indian temple carving, but on his move to London, he increasingly absorbed more European influences. It has been suggested that Spanish Romanesque art inspired his iconic stances and frontal compositions. Like the nudes of Manet, Picasso and Rouault, Souza's nudes go beyond the boundaries of convention. Unlike his contemporary M.F. Husain, there is no attempt to attain the 'innocence' of folk art; his intention is rather to face the contemporary world head on. In his monograph on the artist, where this work is also published, Edwin Mullins discusses the significance of the female nude in Souza’’’’s practice. “[Souza’’’’s] women with girdles and high rounded breasts, fastening a pin in their hair [...] clearly have their origins in Indian stone carvings and bronzes. Yet in spirit they are not traditional […] On the whole his paintings of nudes are more gentle than most of his other work; they have less impassioned ferocity about them. At the same time they are often perverse and obsessed. The inelegant sexual poses, the blunt emphasis on the pregnant belly, the ravaged face. They suggest a personal fascination with the female body, blended with an almost Swiftian disgust with its natural functions.” (E. Mullins, Souza, Anthony Blond Publishers, London, 1962, p. 43)
Francis Newton Souza - Untitled (woman In Profile)

Francis Newton Souza - Untitled (woman In Profile)

Original 1952
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Lot number: 5
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Description:
F N Souza Untitled (Woman in Profile) Signed and dated 'Souza 1952' (lower right) 1952 Charcoal and pencil on paper pasted on paper 15 x 22.25 in (38.2 x 56.4 cm) PROVENANCE: Formerly from the Collection of Julian Sherrier Christie's, New York, 12 September 2012, lot 341 Private Collection, New Delhi
Francis Newton Souza -  Head Of A Woman

Francis Newton Souza - Head Of A Woman

Original 1951
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Lot number: 12
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Description:
FRANCIS NEWTON SOUZA (1924-2002) Head of a Woman signed and dated 'Souza 1951' (upper right); further titled, signed and dated 'Head of a Woman F.N. SOUZA 1951' (on the reverse) oil on board 23¾ x 15¾ in. (60.3 x 40 cm.) Painted in 1951 Provenance Acquired directly from the artist Dhoomimal Gallery, New Delhi Acquired from the above by the present owner Literature V. Bhardwaj, Francis Newton Souza, Dhoomimal Gallery Collection, New Delhi, 2009, p. 281 (illustrated) Exhibited New Delhi, Lalit Kala Akademi, Volte Face Souza's Iconoclastic Vision, 2009
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