This research originates from an insightful question-and-answer session with Keren SouzaKohn, the daughter of Francis Newton Souza. Set against the backdrop of the red earth roads, lush green paddy fields, and winding lanes of Saligao, Goa—Souza's birthplace—our conversation unveiled fascinating possibilities. What began as a simple dialogue soon transformed into a path-breaking interview, shedding new light on the art of F.N. Souza and the influences that shaped his work.
The Keren Souza Interview video can be seen here.
F.N.Souza's Grandmother
The region's lush landscapes and architectural grandeur marked the beginning of young Souza’s artistic exploration, which would later evolve as he moved to the bustling city of Bombay, to study at the JJ School of Art, then to London in 1949, and eventually the US in the latter part of the sixties.
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H.A. Gade, Wayne Hartwell and Lily Souza (F.N. Souza's mother) at the PAG exhibition
Keren SouzaKohn, an artist in her own right, invited us into her studio, a space filled with memories and stories that have shaped her understanding of her father’s life and art. We see old photographs of Souza, his letters to his daughter revealing his identity as a doting father, his personal writings, old catalogues, and other archival information on the table. She shares with us vivid memories of her father’s creative process, dating back to when she was just three years old. Despite the passage of time, these moments remain etched in her mind. Keren recalls her father sitting on the floor, with bent knees, deeply engrossed in his work. The image of him, fully absorbed in his painting, captures the essence of an artist wholly committed to his craft.
She recounts her life in Belsize park , the success of Souza as an artist during that time who had made a famous statement. "I make more money from my paintings than the Prime Minister makes from his politics". Unfortunately, Souza could not keep the house in contrast to his financial situation. What exactly transpired we may never know.
But the story of F.N. Souza is not complete without understanding the profound influence of Keren's mother, Liselotte Kohn, a talented theatre and film actor - a student of the prestigious RADA. As a second-generation Holocaust refugee, Liselotte, born Liselotte Kohn, was a Czech Jew who had to escape from her home in Prague alone as a teenager. She traveled across Europe by train, leaving behind her family—whom she would never see again, as they were holocast victims. This harrowing experience of loss and survival deeply influenced her outlook on life and, in turn, left an indelible mark on Souza’s art.
The influence of such a dark backdrop—the tragedies of the Holocaust and the subsequent displacement—drew the family towards the avant-garde in art, music, and philosophy. Keren recalls how their lives were steeped in the works of anti-fascist and anti-war painters such as Max Beckmann, Otto Dix, George Grosz, John Heartfield, and Francis Bacon. Their home resonated with the compositions of Dmitri Shostakovich, Gustav Mahler, and Anton Bruckner, and the philosophical and psychological musings of Franz Kafka, Albert Camus, Bruno Bettelheim, and Sigmund Freud. The dramatic writings of Eugène Ionesco, Antonin Artaud, Samuel Beckett, Arthur Miller, and George Bernard Shaw were also integral to their intellectual landscape. Kafka interestingly has a similar background to Liselotte also being from Czechoslovakia.
Keren speaks warmly of her mother’s vibrant personality and how it permeated their home. She vividly recalls the sound of her mother’s light footsteps, echoing through the house as she emerged from the kitchen, dancing and singing.
Liselotte’s influence on Souza was both personal and artistic.
It should be noted that till the late forties when Souza left for London, he painted Goan Village Scenes in vibrant color, temple dancers, and the occasional nude. Souza’s dislike for Catholic priests is well-known and documented and continued in paintings throughout his career.
Souza would have established a relationship with Keren's mother around 1952 (in some text this is 1954) leaving her in the mid to late sixties to move to the United States with Barbara Zincat (referred in many places as 'BZ').
The period of 1952 (or so) to the mid 60s' (or so) is to be noted. This is considered by many to be Souza's strongest period. But what the interview establishes is that Souza's production was far more literary than seen prior to 1952 and that this was the influence of Keren's mother. It was in this period that 'Nirvana of a Maggot' was written and artworks like 'Metamorphosis' were painted. In Kafka's book Metamorphosis, Gregor Samsa transforms into an insect (a cockroach) - this is considered by many to be an allegory of anti-semitism. The literary influence and Liselotte's cultural milieu being very apparent.
Certainly in the 1960s in the United States he straddled different styles away from his London influences.
As we explore the layers of Souza’s artistic journey, it becomes clear that his work was not only a reflection of his external environment but also of the rich inner world he shared with his family. The relationships that Souza cultivated with those closest to him, particularly with Liselotte and Keren, were instrumental in the development of his distinctive style.
In revisiting F.N. Souza’s life through the lens of his daughter’s memories, we gain a deeper appreciation for the man behind the masterpieces. Keren’s reflections offer us an intimate glimpse into the personal world of an artist whose work has left an indelible mark on modern Indian art. From the red roads of Saligao to the bustling streets of London and the Souza’s journey was one of continuous evolution—shaped by the places he lived, the people he loved, and the complex interplay between his personal and creative life.
