Page 18 - The Arts Trust Souza The Centennial
P. 18
“Today we paint with absolute freedom for contents
and techniques, almost anarchic; save that we are
governed by one or two sound elemental and eternal
laws, of aesthetic order, plastic coordination and
colour composition.”
deeply influenced his art. This portrait is patrons and accolades from leading art
one of the earliest and most impactful critics of the time, including Edwin Mullins
representations of the clergy that Souza and David Sylvester. They appreciated the
created, merging historical and modern expressionistic, grotesque nature of his
artistic traditions to convey a powerful works, akin to that of Graham Sutherland
message. The priest in the painting is (1903-80) and Francis Bacon (1909-92), with
depicted with a frontal, transfixed gaze, whom Souza exhibited in 1954. Renowned
a stylistic choice that imparts a sense of art critic John Berger also dedicated an
authority and petrification. This approach entire article to the Gallery One exhibition
is influenced by Spanish Romanesque in the New Statesman. Other well-known
religious art, particularly mediaeval Catalan critics, such as Andrew Forge and George
frescoes, and the expressive techniques Butcher, wrote articles on the artist in the
of modern painters like Georges Rouault. Guardian and The Times.
The figure stands against a tightly cropped, Still Life (1958) is part of a significant The press offered many different
golden-ochre backdrop reminiscent of perspectives to Souza’s art, but few
Romanesque icons, emphasising the could question his eccentric genius
priest’s dominance in the composition. Souza meets Queen Elizabeth II of the UK
Despite all the work, Souza’s art did not
capture the interest of galleries and patrons.
Seeking new opportunities, he decided to
reconnect with his contemporaries Raza series of still-life artworks created by and binds together the varied themes of his
and Akbar Padamsee, while travelling to Souza during the mid-1950s to early 1960s, early practice.
Europe. He also met Picasso for the first focusing on a deeply ecclesiastical theme. Featuring a heavily pregnant reclining
time, an encounter he later described as The painting depicts various religious nude, it symbolises imminent birth and
a defining moment in his career. By 1954, vessels used in the Eucharist, such as the creation. It also depicts a standing figure
Souza’s prospects were so bleak that he chalice, censer, cruets, ciborium, and donning a richly adorned red brocade
contemplated returning to India, but that candelabrum, arranged on an altar. The tunic reminiscent of clerical garb. Through
is not how it was to be. background features faint traces of a the open window, Souza presents a
In 1955, a solo exhibition at Victor checker-board pattern, a motif often found characteristic landscape, likely depicting
Musgrave’s Gallery One garnered critical in Souza’s works, reminiscent of the clerical Hampstead, London, where he resided.
acclaim, and the publication of his garments worn by saints depicted in his The corniced buildings and steeples
autobiographical essay ‘Nirvana of a paintings. The vivid colours juxtaposed rendered in his distinctive thick black
Maggot’ in Encounter magazine, run by against the dark backdrop create a striking lines reflect his fascination with Gothic
Stephen Spender, made him an overnight and enduring visual impact. architecture. The still life beside the female
success. The following year, he emerged as The Birth, painted in 1955, became the figure, echoing the liturgical vessels of
one of the most exciting painters in London. magnum opus of Souza’s success. It is a Catholic sacraments, further imbues the
This creative output earned Souza both zenith, his highest lows and lowest highs, scene with sacred connotations. This
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