Francis Newton Souza (India, 1924-2002) Clermont State Park, N.Y. Signed and dated '71 upper left, further signed, inscribed, titled and dated 'F.N. SOUZA/ CLERMONT STATE PARK N.Y./ 1971/ 20 x 24/ OIL ON CANVAS' on reverse Oil on canvas 61 x 53cm (24 x 20 7/8in). Fußnoten Provenance: Acquired directly from the artist; Christie's, South Asian Modern + Contemporary South Asian Art, New York, 16 September 2009, Lot 596; Private Collection, U.K. Critic Edwin Mullins states that Souza has 'succeeded in creating images which are entirely personal, yet recognizable at the same time. They are often distorted to the point of destruction - houses no more than lopsided cubes...but they never threaten to dissolve into formalized abstract shapes. The violence and speed with which they were executed keep these images, however distorted, in touch with the painter's vision of what they really are.' (E. Mullins, Souza, Anthony Blond Ltd., London, 1962, p. 37) Souza's discusses this hybridised landscape treatment in an article in the Times of India in 1989: "We can now look back and be surprised at how those of us from the Progressive Artists' Group, Raza, Gade and myself, completely broke away from the wishy-washy 19th century English watercolourists, an influence which prevailed in Bombay even in the 1940s, and came into our own individual styles; our landscapes were not only very different from those of British painters like to Turner and Constable, we were, although we were very modern, different from the French impressionists. We were bold and full of fire. Our landscapes were full of brilliant colours!" (F N Souza, "Red Trees, Black Skies," The Times of India, 4 June 1989, p. 4)
Francis Newton Souza (India, 1924-2002) Clermont State Park, N.Y. Signed and dated '71 upper left, further signed, inscribed, titled and dated 'F.N. SOUZA/ CLERMONT STATE PARK N.Y./ 1971/ 20 x 24/ OIL ON CANVAS' on reverse Oil on canvas 61 x 53cm (24 x 20 7/8in). Fußnoten Provenance: Acquired directly from the artist; Christie's, South Asian Modern + Contemporary South Asian Art, New York, 16 September 2009, Lot 596; Private Collection, U.K. Critic Edwin Mullins states that Souza has 'succeeded in creating images which are entirely personal, yet recognizable at the same time. They are often distorted to the point of destruction - houses no more than lopsided cubes...but they never threaten to dissolve into formalized abstract shapes. The violence and speed with which they were executed keep these images, however distorted, in touch with the painter's vision of what they really are.' (E. Mullins, Souza, Anthony Blond Ltd., London, 1962, p. 37) Souza's discusses this hybridised landscape treatment in an article in the Times of India in 1989: "We can now look back and be surprised at how those of us from the Progressive Artists' Group, Raza, Gade and myself, completely broke away from the wishy-washy 19th century English watercolourists, an influence which prevailed in Bombay even in the 1940s, and came into our own individual styles; our landscapes were not only very different from those of British painters like to Turner and Constable, we were, although we were very modern, different from the French impressionists. We were bold and full of fire. Our landscapes were full of brilliant colours!" (F N Souza, "Red Trees, Black Skies," The Times of India, 4 June 1989, p. 4)
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
