Important Notice

Lot 8

Souza`s interest in the Catholic Church, and its representative figures and objects, developed during his youth in Goa. Completely in awe of the ostentation of his religion, young Newton strongly believed that Christ was the only source of growth and salvation. Surviving a bout of smallpox made this belief even stronger, and eventually led him to study to enter the priesthood. Later, however, after Souza was expelled from his Jesuit high school... Souza`s interest in the Catholic Church, and its representative figures and objects, developed during his youth in Goa. Completely in awe of the ostentation of his religion, young Newton strongly believed that Christ was the only source of growth and salvation. Surviving a bout of smallpox made this belief even stronger, and eventually led him to study to enter the priesthood. Later, however, after Souza was expelled from his Jesuit high school in Bombay, the artist began to question the Church`s rigid dogma and structures of authority. His wonder was soon diluted by the decadence and hypocrisy he came to see in organized religion.

“The recurring portraits of priests, prophets, cardinals, and Popes are therefore to be taken literally for what they are but also symbolically as representatives of institutions and authority, only more treacherous in that they claim divine sanction. That is to say, the villains of the Catholic Church he represents are both real and allegorical. It is this double connotation of fact and symbol and his interlocked feelings of secret fascination and objective disgust which make Souza`s handling of religious figures so unique” (Geeta Kapur, Contemporary Indian Artists, Vikas Publishing House, 1978, p. 20).

This duality in Souza`s relationship with Catholicism is evident in this 1963 portrait of St. John the Baptist, believed to be a precursor to the messiah, Jesus. Portrayed as a gaunt man with matted hair and a vacant expression by Souza, St. John seems to preach to no one in particular from his perch on the rock. Like the artist, viewers are torn between blind faith and pitiful disbelief. It is interesting to note, however, that even though Souza has created this portrait from the strong line he is known for, the subject has been saved the artist`s usual violence and disfiguration. Using a subdued palette, Souza`s attitude towards religion seems to be one of regret rather than anger in this piece.

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