Prinseps, in collaboration with Dhoomimal Gallery, presented F.N. Souza: A Continuum—a landmark exhibition marking the centenary year of Francis Newton Souza. Opening on March 25, 2025, in New Delhi, the exhibition invited viewers to look beyond the myth and into the inner world of one of India’s most influential modernists.
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Francis Newton Souza’s early years in Goa were immersed in Catholic tradition, shaped by his grandmother, Leopoldina Saldanha. After contracting smallpox in Bombay, he was sent back to Saligao in 1929, where his childhood was steeped in religious rituals. His grandmother, deeply devout, led the family in nightly Rosary prayers and Sunday Mass, filling his imagination with stories of saints, martyrdom, and biblical events.
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As we unravel the lesser-known facets of Souza’s personal life, we move beyond the Enfant terrible label often attached to him. Offering an intimate glimpse of the man behind the masterpieces—we see a portrait of a doting father, hunched over his desk. He wields his quill gently; unlike the bold, urgent strokes of his brush. His ink spills onto his letters, lined with affection and longing, as he writes to his daughter Keren, “Lots of love and kisses. Write me.”
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Francis Newton Souza’s years in London marked a crucial turning point in his artistic journey, shaped not just by the city’s post-war modernist currents but also by his deep and transformative relationship with Liselotte Souza née Kristian (ancestry Kohn).
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Souza’s artistic evolution was not shaped by painters alone. While Picasso informed his visual language, it was Franz Kafka who gave form to his inner unrest. The influence of Kafka—never examined as part of Souza’s oeuvre—runs deep through his art and writings.
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From his early years in Bombay to his rise in London, Souza saw Picasso as an artistic influence and a kindred spirit. The parallels were striking. Both were expelled from art institutions, briefly associated with the Communist Party, and deeply engaged with the written word.
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F.N. Souza’s fascination with the human body began early—his expulsion from school in 1939 for drawing explicit anatomical sketches hinted at an obsession that deepened over time. Even in the 1940s, his clinically labeled studies dissected the body with scientific precision, mapping muscles, and bones in a relentless exploration of form.
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The 1940s were a decade of political urgency and artistic transformation in India—especially in Bombay, where anti-colonial movements, Marxist cultural activism, and encounters with European émigrés sparked a radical new visual language. As the Quit India Movement mobilized students and artists alike, figures like P.C. Joshi and Mulk Raj Anand rallied for an art that was politically engaged and socially conscious. The Progressive Writers’ Association, the Calcutta Group, and the Indian People’s Theatre Association (IPTA) all shaped a cultural climate where art and resistance were deeply intertwined.
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This timeline traces the life and work of Francis Newton Souza (1924–2002), mapping the personal losses, political upheavals, and artistic milestones that shaped one of modern India’s most radical and uncompromising painters. Born in colonial Goa and raised between Bombay and Saligao, Souza’s early years were marked by rebellion—against convention, religious orthodoxy, and artistic mediocrity.
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As we once again visited Keren SouzaKohn's lively home studio nestled amidst the lush green paddies and red roads of Saligao, our gaze fell on her colourful artworks reflecting life in Goa. Splashes of green, blue and intimate depictions of unhurried life in the coastal paradise uncovered vibrant portrayals of quiet village moments, the local folk and bustling markets. This immediately made us wonder about her artistic journey so far, and hence we embarked on yet another interview focusing on the life and art of Keren SouzaKohn.
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Eclectic Visions unfolded in the bustling heart of Delhi, showcasing the rich tapestry of artistic expression. From poignant socio-political commentary to vibrant explorations of heritage and the fusion of jazz and art, our exhibit was a celebration of diverse voices and perspectives. The exhibit brought together four distinct voices, each weaving their narratives into the fabric of creativity.
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A letter written by Francis Newton Souza expressing his views on Modern Art in the summer of '88. This is one of Souza's three letters to be featured in the Modern Indian Art auction this May,
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Traversing the world of art can be a game of clue hunt. Sometimes, even if there is a lot documented about a group of artists and their works, one tends to find a thread that can become an enticing exploration in itself. A lot has been written about the Progressive Artists' Group, which was formed in India in the year 1947.
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Bhulabhai Desai Memorial Institute (BDMI) was a center for innumerable artists of diverse fields and practices. An institute with the same structure and bohemian style has never been established again, giving rise to various experiments, collaborations, and discussions. The impact of the atmosphere created at the BDMI has touched the practice of artists visiting the space for various reasons.
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Post-Independence India was a new revolution in India’s history. As the struggle for freedom was finally achieved, new mindsets were formed. The new free India respected and worshiped humanity at its best along with promoting freedom of expression. At this point, a group of supreme artists came together who shared a common art type: modern art for the new free India and called themselves the Bombay Progressives Art Group!
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Francis Newton Souza was born in 1924 in Saligao, Goa. He was expelled for participating in the Quit India Movement while studying at the Sir J J School of Art in Mumbai. In 1947, he founded the Progressive Artists' Group along with S H Raza, M F Husain, and K H Ara, among others. Souza's style created thought-provoking and powerful images.
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Although the first exhibition of the Progressive Artists Group was held in 1949, the group formally came into existence on December 15, 1947.
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Francis Newton Souza was born in 1924 in Saligao, Goa. Souza was expelled for his behavior while studying at the Sir J J School of Art in Mumbai. In 1947, he founded the Progressive Artists' Group along with S H Raza, M F Husain, and K H Ara, among others. Souza's style created thought-provoking and powerful images.
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Studies related to anatomy, animals, carcasses. skulls have been integral part of art since time immemorial. Somnath Hore's Meatwallah is an exceptionally rare and important canvas of a similar genre. Similar works by other artists include.
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Here is a list of some of Francis Newton Souza's "good" works. This list is by no means definitive or exhaustive.
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