Pioneering artist Francis Newton Souza and distinguished art critic K.B. Goel would discuss art, aesthetics and world affairs for hours in a friendship that spanned many decades. This February, artworks that Souza gifted to the Goel family are offered in our Modern and Contemporary South Asian Art Online sale.

A meeting of minds

Souza was not only one of India’s leading modernist artists, but also extremely well-read and a fluent writer. So when he came across K.B. Goel's reviews of his work in the 1960s, he was immediately drawn to Goel's intense intelligence and fascinating ideas. He quickly introduced himself to the critic.

For the art critic K.B. Goel, there were not many artists he considered intellectual equals, so he felt refreshed when Souza came forward and showed such enthusiasm for his ideas.

It was the beginning of a friendship that endured for many decades. Souza and Goel would correspond regularly discussing art, aesthetics and world affairs. In the late 1970s and 80s, when Souza’s visits to India from the United States became more frequent, they often met at the Goel family home in Old Delhi or at Souza’s hotel. It was during this period that Goel wrote some of his most important critical pieces on Souza’s work.

The deepening bond between the two men extended to the entire Goel family—Souza started to call them “his family” as well. The artist deeply admired Goel’s wife, Premlata, frequently declining important business invitations in favour of simple meals with her and the family. Souza particularly appreciated being able to discuss with Premlata the role of women in Indian society. He also took an active interest in the lives of the two sons.

Souza’s art gifts to Goel

This February, five exceptional artworks owned by Dr Premlata Goel—originally gifts from Souza to her late husband from the mid-1980s onward—are offered in our Modern and Contemporary South Asian Art Online sale. They range from portraits, landscapes and a still life, reflecting some of Souza’s most enduring themes and interests.

An accident that became a passion

Souza’s altered magazine pages may have started as an accident but soon became a passion. Any glossy magazine could become the potential canvas for a work. Picking out elements on the page, he would spontaneously manipulate the paper surface and deface it with acrylic paint or markers, transforming once-lifeless images into an all-new visual extravaganza that combined the original with a new drawing.

Landscapes

“Beauty is Nature’s creation; colours are a wonder; Light, which contains colours, is a miracle...” wrote Souza. His landscapes were not only a reflection of nature but, in part, an expression of his inner chaos.

From the 1960s onwards, Souza’s landscapes were often dominated by apocalyptic visions. They reflected the post-war gloom of Britain, where he lived from 1949-67, and then the mounting tension around the world during the Cold War period. As observed by the art historian and critic Yashodhara Dalmia, his landscapes “seem to be driven by a cataclysmic force, which wreaks havoc.”

In such works as Untitled (A country farm), the scenes, which are like tectonic plates, seem to be colliding with each other, creating multiple vanishing points with swaying blocks of architecture. This technique is most clearly seen in Souza's acrylic and chemical alterations on magazine paper, and the five works from Dr Premlata Goel are exceptional examples in their quality and vivid colours.

Still lifes

Raised as a Roman Catholic in Goa, at the time a Portuguese colony, Souza was fascinated by the traditions, rituals and objects of worship of the church. Many of his still lifes reflect the visual imagery of Catholicism.

In Untitled (A laden table), a brightly burning candle seem to spread light and hope. A skull and chalice—recurring themes for the artist—are contrasted against an apple and fish. Combined everyday objects like plates and a cup, they lend themselves to a highly appealing, unified composition.

Nudes

The eroticism of the nude form is strongly represented in Untitled (The Gathering). Here, Souza's remarkable ability to distort the human body displays the brilliance of his drawing skills. Could this be a gathering of friends?

As narrated by Dr Premlata Goel to Simon Brandenburger, a friend of the family. A specialist in rare books and art relating to South Asia, he was formerly Head of Bonhams Book department.