Osian's Auction Catalogue Creative India Series 1 Bengal | December 2011

F.n. s ouza 12 April 1924 – 28 March 2002 Christ Gouache on paper, 1949 S/d in English ‘Souza’49’ t.l. Inscribed in English ‘Francis Newton Souza Calcutta 21/3/69’ on verso 10.7 x 8.9 in (27.4 x 22.5 cm) Condition Paint loss at some places Provenance Acquired from Kolkata-based individual collector, who acquired it directly from the artist in March 1969, when the artist visited Calcutta and stayed at their residence. ` 1,000,000 – 1,500,000 US$ 20,000 – 30,000 89 1780 1800 1820 1840 1860 1880 1900 1910 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 2000 203 202 “Souza’s human forms literally burst into the scene in the late 1940s and with their dare-deviltry and energy they provoked profound questions. The wishy-washy academic style of painting and the latent hypocrisy in all spheres of life were placed in perspective, even as the new spirit of liberation was invoked. The heads were multiple, complex and imbued with the spirit of a provocative defiance of conventions. The ‘dwangs, farads and dins’ that he saw in his environment were embalmed on the canvas, perpetually in conflict with the superficial appearance of things… Both in terms of the preoccupation and invention of expressive heads, Souza’s works could be compared to those by Picasso, but to say that he took it even further would be an exaggeration.” [Dalmia, Yashodhara [2001]. The Making of Modern Indian Art: The Progressives. New Delhi: Oxford University Press; p.94] “The Roman Catholic Church had a tremendous influence over me, not its dogmas but its grand architecture and the splendour of its services. The priest, dressed in richly embroidered vestments, each of his garments from the biretta to the chausible symbolizing the accoutrement of Christ’s passion. These wooden saints painted with gold and bright colours staring vacantly out of their niches. The smell of incense. And the enormous Crucifix with the impaled image of a Man supposed to be the son of God, scourged and dripping, with matted hair tangled 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 by my grandmother. I felt I had paid an installment for the salvation of my soul.” [F.N. Souza [1959], In Words & Lines. London: Villiers; p.10. Rpt. In Dalmia, Yashodhara [2001]. The Making of Modern Indian Art: The Progressives. New Delhi: Oxford University Press; p.81] Creative India BENGAL | ‘Chittaprosad, the Calcutta Group, F.N. Souza & Artists of Transition 1940-50s’