F.N. Souza

F.N. Souza | Biography | Life | Artworks

F. N. Souza
F. N. Souza

F.N. Souza has produced an imaginative body of figurative paintings that are independent of any movement and stamped with the artist’s individuality. His oeuvre depicts a highly personal subject matter which concentrates chiefly on sex and religion. 

If sexuality has not been raised to a pitch of religious ecstasy, it, nevertheless, is a source of his strength as also his weakness. His works create a sense of morbid despair and aversion to life, with, however, an undertone of nostalgic compassion. 

One may, in a way, compare his approach to the full-blooded vehemence of the contempt for the real world exhibited by Rouault, who “Flogs vice and castigates hypocrisy”.

Souza uses the language of art recklessly, particularly in his latest works, but in such a passionate manner as to create an impression as if he were fighting with himself. His art is, perhaps a search to calm himself. 

His attempts to depict a certain type of feeling in visual terms have resulted in profound personal images evoking the claustrophobic conflict of man in our age. Souza’s depiction of tortured martyrdom conjures up a “vision of the son of God to the extent of identifying himself with him”.

He sees humans in a perpetual state of conflict and suffering. In the spirits of Frances Bacon, he has created personal variations of brutal power in contemporary life which he alternates with sexual depravity to “portray perverted pantomime of human relationship”. 

His “Lovers” enact ceremonies that portray human needs and emotions on an elemental level. His insensate, plumpish figures are suggestive of an animality.

Souza has evolved a new conception of reality, by basing his forms on the principles of organic growth, together with certain conventions inherited from cubism, expressionism, abstractism. 

His figures and faces pose a sense of strongness and an eerie life of their own, as in his “Seated Roman”. 

And the hideous faces of the “Six Gentleman of our Time”.  Some of his “Heads” which are treated with a geometric bias, or are supremely posed with a geometric or abstract mask-like structure, “Transfiguration” 1964 and “Head” 1983- reveal elements of critic art.


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Pablo Picasso 4. Salvador Dali 5. Frida Kahlo

Indian Artist

1.G.R. Santosh  2. Jai Zharotia 3. Ramkinkar Vaij 4. Dhan Raj Bhagat 5. Somnath Hore 6. Raja Ravi Varma 7. Ratnabali Kant 8. Satish Gujral  9. Anjolie Ela Menon 10. Jagdish Swaminathan   11. Bishamber Khanna  12. Shanti Dave  13. Om Prakash  14. A Ramachandran 15. Arpita Singh 16. Gulam Mohammad Sheikh  17. Biren De  18. Manjit Bawa 19. Gogi Saroj Pal  20. Arpana Caur 21. Vivan Sundaram  22.Amar Nath Sehgal 23. Jatin Das  24.Meera Mukherjee 25. P. V. Janakiram 26. Ved Nayar 27. Mrinalini Mukherjee  28. Lydia Mehta 29. Krishna Reddy 30. Surindra Chadha 31. Anupam Sud 32. Sankho Chaudhuri 33. Gaganendranath Tagore 34. Rabindranath Tagore 35. Nandalal Bose  36. Abanindranath Tagore 37. Jamini Roy 38. Amrita Sher-Gil 39. A. R. Chughtai  40. Zainul Abedin 41. George Keyt 42. M.F. Husain 43. Binod Bihari Mukharji 44. K. G. Subramanyan  45. Krishen Khanna  46. Tyeb Mehta  47. Ram Kumar 48. Pran Nath Mago 49. F.N. Souza 50. B.C.Sanyal 51. K.S.Kulkarni 52. HarKrishan Lal 53. Jahangir Sabavala 54. Sailoz Mukherjee 55. N. S. Bendre  56. K.K.Hebbar 57. Bimal Das Gupta  

Female Artists:

1.Amrita Sher-Gil  2. Arpana Caur  3. Anupam Sud   4. Lydia Mehta   5. Mrinalini Mukherjee   6. Meera Mukherjee   7. Ratnabali Kant

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