Page 21 - The Arts Trust Souza The Centennial

in a striking composition. Known for capturing the complexities of his inner
his sardonic depictions of clergy, Souza world and his unique vision.
uses bold brushstrokes and vivid colours The 1960s also marked a period of
to create dynamism and psychological intense experimentation in Souza’s
depth. The painting presents a couple in a artistic career. His style evolved into a
tender embrace, possibly portraying Souza more gestural approach, with thick black
and his partner, Liselotte Kristian. Their outlines giving way to finer, sharper lines.
tunics, adorned with brilliant reds, yellows, This fundamental shift is evident in his
and greens heightened with gold, evoke a landscape works from the time, where
sense of grandeur and reference clergy he constructs structures using loops and
attire, suggesting a critique of religious small circles of dark paint superimposed
hypocrisy. The thick black lines lend a onto broad swathes of rich colour, ensuring
sculptural quality reminiscent of Indian the image is never completely lost. In the
temple carvings. The Lovers stands out as spring of 1960, Souza received an Italian
Souza did not normally work on book covers, with the Inner a warm, sensitive piece amid Souza’s more Government scholarship to tour Europe.
Circle by Jerzy Peterkiewicz and a sketch for The Times violent works, reflecting a period of clarity During his brief stay in Rome, Souza created
Literary Supplement being exceptions. His writing, on the other for the artist. Acquired by Robin Howard works that are vibrant and infused with
hand, was featured across many newspapers and journals and featured in notable publications, explosive energy, predominantly featuring
this painting is a significant masterpiece, the colour red. The architecture, especially

work was also among submissions by five currents of European Modernism that
painters representing Great Britain at the impacted the artist. This piece is also highly
Guggenheim International Award in 1958. reflective of the expressive qualities of
It is also a testament to his journey from Souza’s work in the 1950s.
obscurity to international acclaim. During this period, Souza’s works were
In fact, Souza became the first Indian characterised by distinctive features, such
artist to achieve significant recognition for as the elevated positioning of the eyes and
his work in the West, surpassing many of the angular contours defining the lower jaw
his Western contemporaries, a status he and beard. The intricate ornamentation of
unquestionably deserved. robes alludes to the embellishments seen
Another important turning point came in the Church, and the monumental scale
in 1956 when Harold Kovner, a wealthy of the heads, constructed with impasto
American, saw Souza’s work in a Paris and deconstructed with a palette knife,
gallery and made a generous offer: if Souza unveils multiple layers. This technique
sent him a few paintings each month, adds a palpable depth, inviting observers to
Kovner would provide ample financial delve into the intricate layers of meaning
support. This arrangement lasted four embedded in his masterful portrayal.
years, during which Kovner acquired 200 of
Souza’s works, and Souza, for the first time, souza, the icon
was free from financial worries. By the early 1960s, Souza had firmly
One of Souza’s masterpieces, originally established himself as a noteworthy
from the Krovner collection, exemplifies painter. Hobnobbing with other like-
his fascination with the motif of the minded artists, he thrived in the vibrant art
head, a recurring and recognizable theme scene of London. Saint Souza, a 2014
in his work. Executed in 1959, the bold A marvellous painting from the year Manu Parekh
black outlines and cross-hatching reveal 1960, The Lovers, combines themes of acrylic on canvas
undeniable influences from various religion, love, and critique of the Church work (60 x 60 in)

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