Marcel Arts
Private SellerBrazil
About Artist:
There are multiple influences at play in this work. Souza's iconic stances, frontal compositions and the stiff demeanor of his figures are attributed to Romanesque art. The stout body of the woman is reminiscent of the classical Indian sculptures which Souza first witnessed in his early years in Bombay. Edwin Mullins, Souza's first biographer, said The emphasis on definitive line to trace the twist and movement of the human body; the impersonal, ritual treatment of sensuality; the tendency to stylize objects so that they become stripped of incidental detail; and the intuitive understanding of how to treat a virtually flat surface in order to create the effect, not of depth, but of movement; these are all important components in Souza's paintings and they stem more or less directly from classical Indian art.' (E. Mullins, F. N. Souza, Anthony Blond, London, 1962, p. 38)
Francis Newton Souza
Untitled
- 1973
- 26 x 32 cm
- Fine Art Category: paintings
- Medium: Oilstick on paper
- Origin: USA
- Certificate of Authenticity: yes
- Provenance: Acquired directly from the painter in NY city. The owner have a receipt hand signed by the artist. At this time him, the owner, worked at the Consulate General of Brazil in New York.
- Signed: Signed lower right
- Comments:
Excellent condition. No damages or restaurations.
- Price: $2,800.00 USD
- Seller: Marcel Arts, Brazil
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- Artplode ID: 6453
- Artplode Seller ID: 16049
About Artist:
There are multiple influences at play in this work. Souza's iconic stances, frontal compositions and the stiff demeanor of his figures are attributed to Romanesque art. The stout body of the woman is reminiscent of the classical Indian sculptures which Souza first witnessed in his early years in Bombay. Edwin Mullins, Souza's first biographer, said The emphasis on definitive line to trace the twist and movement of the human body; the impersonal, ritual treatment of sensuality; the tendency to stylize objects so that they become stripped of incidental detail; and the intuitive understanding of how to treat a virtually flat surface in order to create the effect, not of depth, but of movement; these are all important components in Souza's paintings and they stem more or less directly from classical Indian art.' (E. Mullins, F. N. Souza, Anthony Blond, London, 1962, p. 38)
