Page 16 - The Arts Trust Souza The Centennial

fascination with the duality of sin and to incorporate elements of African and
satisfied with the progressive offerings of
these artists.”
Another exhibition of Souza’s works at
the Sir Cowasji Jehangir Hall in Bombay,
organised by the Art Society of India,
sparked a controversy. Among the four
submitted works were two erotic visages
inspired by Ancient Classical sculpture.
The centrepiece was a daring self-portrait
in the nude, seemingly challenging societal
double standards regarding the acceptance
of female nudes versus male portraits. Four
days after the opening, authorities abruptly
removed the artworks, citing censorship
concerns. Police scrutinised Souza,
searching his studio for pornographic
material and eventually charging him with
obscenity. This incident turned a new page
in Souza’s exciting life.
For quite some time, the Director of
Baroda Museum, Dr. Herman Goetz and von
Leyden, had urged Souza to venture West
and witness Contemporary Modernism and
Western art masters firsthand. His friend,
Indian theatre director Ebrahim Alkazi,
who had relocated to London two years
earlier, had penned letters encouraging
him to make the journey.
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sensuality. His art was provocative, Primitive art, which in turn was influencing
intertwining the sacred and the profane. European Modernism at the time. This
The female nude remained a major theme impact is evident in the stylized features
in Souza’s work, showcasing his exceptional and modular forms of the female nude,
mastery of female anatomy. His bold, almost conjured at the cusp of life in London and a
shocking depictions assert his individuality deep nostalgia for his artistic homeland of
and freedom. From the start, Souza’s nudes India. This wistful longing is captured in the
evolved into enigmatic creations. Unlike a soft features of the female figure, adorned
mere realistic approach, his work reveals with classical ornamentation inspired
raw sensuality without apprehension. His by Indian temple sculptures of Mathura
artistic vision and human persona guided and Khajuraho. Although this painting
his path to uninhibited self-expression. is an early example of his preference for
Souza believed in reflecting the raw truth portraying robust, voluptuous women in
of human nature, infusing life into his art. bold frontal poses, it differs significantly
His unfiltered approach and technical skill from the more explicit, provocative nudes
reveal both the artist and the man. Souza’s he would frequently create in later years.
nudes strip superficiality, revealing raw Another important work from this
sensuality and unrestrained truth. period is Priest with Chalice, painted
Painted in 1950, a year after Souza in 1953, which perfectly captures his
arrived in London, Front-Back Nude ambivalence towards organised religion. As
Souza’s final exhibition in India before resonates with this early Western exposure. he aged, Souza’s increasing cynicism and
he left for London was an extraordinary It was likely during this period that he began disdain for religious hypocrisy and power
review of his career. His earlier works
displayed raw experimentation, but this
show was a blend of diverse influences, from Richard Bartholomew’s
ancient Indian art to the Impressionists. portrait of Souza at his New
Souza boarded the SS Canton for York apartment in 1970-71
London in July 1949, arriving a few weeks
later at Tilbury with only 15 pounds on him.
Once in London, he spent the majority on
buying paint and brushes.
london calling
Life in London was far from easy. Souza
secured occasional journalistic writing
and received sporadic commissions,
notably arranged by Krishna Menon, the
Indian High Commissioner. Menon also
had Souza create a series of large murals
for the Indian Students’ Bureau in London
(the building has since been demolished)
and organised an exhibition of his work at
India House. During the early 1950s, Souza
barely sold any paintings in London or
Paris. Undeterred, he immersed himself in
the museums and art galleries of London,
absorbing works he had only seen in books.
Souza’s early works revealed his
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