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An intrinsic part of his oeuvre, Souza’s women are often contradictory – while some appear dishevelled and distorted, others are demure, with an air of innocence. However, it is their unabashed confidence, be it in their nudity or their modesty that make these works unapologetically his own. Souza’s deep fascination for the female form began as a young boy when his curiosity led him to observe his mother. By his own admission, “I used to watch... An intrinsic part of his oeuvre, Souza’s women are often contradictory – while some appear dishevelled and distorted, others are demure, with an air of innocence. However, it is their unabashed confidence, be it in their nudity or their modesty that make these works unapologetically his own. Souza’s deep fascination for the female form began as a young boy when his curiosity led him to observe his mother. By his own admission, “I used to watch her bathe herself through a hole I had bored in the door...I drew her on the walls and prudes thought I was rude. I can’t see why, because as far as I can recollect, I had even painted murals on the walls of her womb.” (Geeta Kapur, “Francis Newton Souza: Devil in the Flesh,” Contemporary Indian Artists, New Delhi: Vikas Publishing House, 1989, p. 25)

Souza’s artwork of women, within the evolving nature of his own practice, underwent a significant transformation following his arrival in London. While his early works take on forms similar to those seen in Indian art, particularly South Indian bronzes, it’s around the early 1950s when his women appear more contemporary, as the likeness of Indian sculptures begins to recede. Through the years to follow, Souza’s art remained in a constant state of evolution, shuffling between ideas and medium. The artist remained unconfined by traditional canvas in the most literal sense, choosing to create across surfaces and mediums that piqued his interest. As seen in the present lot, he chose to render an image of a woman across the opening page of a book. The figure in question is seated on a chair, facing the viewer, her form encompassed in Souza’s bold linework. By choosing to forgo defining facial features, such as her eyes, Souza adds a layer of mystery to the work. However, the hint of a smile relays a sense of mirth, to this otherwise mysterious woman.

“For a long time Tolstoy and others have asked the big question: what is art? I now know my answer quite simply: Art is what I do.” - F N SOUZA

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