Page 8 - The Arts Trust Souza The Centennial

darling of Bombay’s upper-class society, horizons for emerging artists like Souza.
imagery on the lavatory walls. As Lilia’s
aspiration of her son’s priesthood faded, a
new trajectory emerged for young Newton.
Freed from the constraints of academic
conformity at a young age, Newton decided
he was going to be an artist. He started
familiarising himself with the works of
legendary Renaissance masters, such
as Rembrandt and Titian. He was also
in awe of works by masters of Western
Modernism, such as Pablo Picasso and
Henri Mattise. His artistic sensibilities
further flourished in the eclectic tapestry
of Bombay’s urban landscape. The sights,
sounds, and raw energy of the city ignited
his imagination, paving the way for his
eventual transformation into one of India’s
most celebrated if controversial artists.
In the crucible of adversity and rebellion,
Francis Newton Souza’s journey began—a
journey marked by defiance, creativity, and
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where his identity could have served as a Meetings at Langhammer’s studio became
valuable asset in securing patronage from forums for exchanging ideas and stories
both English and Indian elites. from the European art world, stimulating
Unwilling to be confined to the limited Souza’s imagination and fostering a sense
approach, he embarked on a journey of artistic liberation.
of self-education fuelled by voracious Simultaneously, the tumultuous
consumption of art literature and exposure events of the 1940s, including the Bengal
to diverse artistic expressions. His rejection Famine, the Indian Naval Mutiny, and the
of the status quo mirrored his burgeoning Quit India Movement, galvanised Souza’s
political consciousness, ignited by external political conviction. His participation
events reshaping the socio-political in mass protests advocating for India’s
landscape of India. independence reflected a growing disdain
The influx of émigrés fleeing Nazi for colonial authority, epitomised by the
persecution brought with them not figure of the British principal, Charles
only a new artistic ethos but also a Gerrard, whose presence at the J J School
spirit of resistance. Figures like Walter symbolised the entrenched colonial grip
Langhammer, Rudolf von Leyden, and on Indian institutions. Souza’s activism
Emanuel Schlesinger played pivotal roles eventually led to his expulsion from the
in nurturing the nascent modern Indian art school. However, this consequence of
art scene, offering financial support and his stance towards authority figures was a
Souza’s provocative and progressive access to resources that broadened the crucial pivot for his artistic career rather
approach to art was covered widely in
national and international newspapers
an unyielding quest for artistic expression
that would leave an indelible mark on the
world of art.
carving the path
Souza’s short-lived stint with formal art
education began in 1940 when he joined the
prestigious Sir J J School of Art. Established
in 1857 and modelled after the Royal
Academy in London, the institution bore
the weight of colonial influence, reflected
in its teaching methods. Functioning
under expatriate instructors, the school
adhered strictly to academic traditions.
The curriculum reflected a conservative
approach that eschewed avant-garde
movements sweeping through Europe.
Yet, amidst this environment, Souza
emerged as a standout figure, mastering The members of the Progressive
the academic principles imparted to him. Artists’ Group, a landmark moment
His talent positioned him as a potential in the history of modern Indian art