Opening Reception: Thursday, November 7, 6-8 pm

Aicon is delighted to present Francis Newton Souza, a Celebration of the Centenary, the first solo exhibition of the Indian Modern painter, Francis Newton Souza (1924 – 2002) at the gallery since The Ghost of Souza (2008). The exhibition presents a selection of works drawn from Souza’s seven-decade career, ranging from an early piece painted in 1947, shortly before his arrival in London, to the last work in the exhibition from 1986. 

As one of the founding members of the Progressive Artists’ Group in 1947, along with M. F. Husain, S. H. Raza, Tyeb Mehta, V. S. Gaitonde and others, Souza spearheaded the Indian modernist art movement. He was the only Indian artist featured in the Tate Modern’s 2002 group exhibition on 20th-century modernism. Rejecting labels and resisting any form of compartmentalization, Souza’s subjects and techniques were diverse, adding complexity and uniqueness to his body of work.  

Art critic John Berger once wrote, “How much Souza’s pictures derive from western art and how much from the hieratic temple traditions of his country, I cannot say… because he straddles several traditions but serves none.” 

Over the course of his career, Souza experimented with several genres and styles, but he is perhaps best known for his strong figurative practice, his line drawings and the body of work produced in London during the 1950s and 1960s. This historic exhibition includes eight landscapes, two nudes and nine figurative works, featuring renowned paintings such as Degenerates (1957) and rarely seen masterpieces such as Portrait of L.K. (1956), Portrait of the Sinclairs (1962) and Mr. Sabastian (1956). Landscape with Trees (1957) is an iconic work from the 1950s and Citadel with Flag exemplifies this genre from the 1960s.  

Portrait of Frank (1962), depicting British novelist and playwright Frank Norman (1930-1980), will be on view for the first time in over fifty years. Norman, best known for his memoir Bang to Rights (1958), and musical play Fings Ain’t Wot They Used T’Be (1960), was a close friend of Souza. A number of the works on display have been published in Edwin Mullins 1962 book on Souza, or were previously owned by Harold Kovner, Souza’s original patron.   

Souza drew inspiration from the folk art of his native Goa, while also engaging with European art traditions, such as the full-blooded canvases of the Renaissance, the landscapes of the 18th and 19th centuries, and the dynamic compositions of Cubism. A recurrent theme in his work is the dichotomy of male/female relationships, with an emphasis upon the related conflicts, friction and sexual tensions. In his drawings, Souza managed to capture fine detail even with an economy of line; he also favored crosshatched strokes to compose the overall structure of his subjects. An iconoclast known for his powerful and provocative imagery, Souza often courted controversy, both in his art and his personal life. His repertoire spans still lifes, landscapes, nudes and Christian iconography, boldly rendered in a frenzied distortion of form. Souza’s paintings convey a deep defiance and impatience with convention and the banality of everyday life.

This year marks the centenary of Souza’s birth, and exhibitions and celebrations honoring his legacy have been held around the world. Several auction records have also been set this year, including Christie’s sale of The Lovers (1960) for just under $5 million USD in March—a world record for the artist. Multiple museum exhibitions are planned for the coming months. In the meantime, we invite you to explore the extraordinary world of Francis Newton Souza at Aicon, with works on display until 14 December 2024.