Page 22 - The Arts Trust Souza The Centennial

churches, merged with his inspiration on the depiction of slaughterhouses, Souza
from those in his native village. The same
year, he also returned to his home country
for the first time in 11 years and visited Goa.
Souza was very observant of the socio-
political changes in the world, which
resulted in a series of foreboding works.
The Butcher, painted in 1962, exemplifies
the raw, expressionist style that defines
Souza’s oeuvre. Echoing the apocalyptic
visions of El Greco Francisco Goya and
Catalonian frescoes, it depicts a menacing
figure brandishing a large cleaver as he
stares at the viewer. The bloody animal leg in
his other hand, the splatters on his vest and
chopping block heighten the grotesqueness
of the scene. The stark black background,
suggesting an encroaching darkness, adds
to the sense of doom. In his unique take
A 2009 sketch by artist Jatin Das , titled
‘Souza from memory’
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focuses on the perpetrator rather than the
victim. Despite his frenzied brushstrokes,
he paints the butcher as vulnerable to the
surrounding darkness as the viewer is.
It is well known that despite growing up
amidst religion, Souza had a very complex
relationship with the concept of religion.
The contradictory emotions became the
subject of an exhibition of large-scale
canvases titled ‘The Human and the Divine
Predicament’, held at the Grosvenor Gallery,
London, in 1964. One of the showcased
works was a painting titled The Deposition.
Executed in 1963, it portrays the scene of the Articles in
burial of Christ, specifically the removal of newspapers
his body. Pontius Pilate had granted Joseph covered the man,
of Arimathea permission to take down and the art and the
bury Christ’s body. As John the Evangelist myth of the often
holds Christ’s right hand, the grieving Mary controversial figure
is comforted by Mary Magdalene. Joseph
stands to the left and Nicodemus to the
right. Souza’s depiction is in complete
contrast to Western iconography. While
he borrowed his composition from
‘Entombment of Christ’ by Titian, his
treatment is strikingly different. Unlike the
warm flesh tones and peaceful demeanour
in classical renditions, it strips the scene
of divinity. Using predominantly white and
grey hues, he depicts Christ with blood-
stained nail markings from the Cross and as the Greek story of Hades abducting nude in the foreground, where Souza
a face bleeding from the crown of thorns. Persephone. In 14th-century Europe, expresses defiance against convention and
The painting was featured on the cover during the Great Plague, the personification rejects the banality of everyday life.
of Studio International magazine in April of Death became widespread, leading to Souza’s success continued through
1964 and remains one of Souza’s crowning frequent depictions of the Dance of Death the 1960s. His works were acquired by
achievements from this period. The Last in Medieval European art. By the end of museums from Haifa, Israel, to Melbourne,
Howl From The Cross is another important the 15th century, the subject of Death and Australia, and by the Tate Gallery in London.
work painted in the same year. the Maiden had become a central theme,
Another significant work from the often imbued with eroticism. Souza’s changing tracks
late 1960s, titled Death and the Maiden, interpretation portrays the experience of In 1967, after receiving substantial prize
captures a blurred, sensuous, and seductive the Maiden protagonist in the arms of her money from the Guggenheim International
moment of rendezvous with death. This lover, who simultaneously destroys and Award—then the largest amount given for
artwork is inspired by Matthias Claudius’s emancipates a part of her being. The young the arts—Souza moved to New York.
poem ‘Death and the Maiden,’ which has Maiden is no longer engaged in a dance The 1970s marked a significant shift in
motivated many artists to create their own but is caught in a sensual embrace. Souza’s Souza’s approach with colours, as seen in
interpretations. The theme of a personified rendition exudes stark melancholy rather his enthralling self-portrait done in 1971, in
Death approaching a virginal maiden than simple fear or anger. The painting’s which he embraced a vibrant palette. He
originates from ancient mythology, such focal point is a striking full-frontal female uses thick layers of impasto with bright,
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