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Lot Essay
Souza's early landscapes are linear and orderly with none of the characteristic distortions of his later works. His use of thick black lines to divide the buildings into a multitude of geometric shapes reveal the influence of stained glass windows on his early cityscapes. This is further emphasized through his specific use of color. The rich dark blue and black background is punctuated with several small patches of red that resonate in the darker areas and create a patterned effect.
Jagdish Swaminathan describes Souza's cityscapes as "singularly devoid of emotive inhibitions." They are the "congealed visions of a mysterious world. Whether standing solidly in enamelled petrification or delineated in thin color with calligraphic intonations, the cityscapes of Souza are purely plastic entities with no reference to memories or mirrors." (J. Swaminathan, 'Souza's Exhibition', Lalit Kala Contemporary 40, New Delhi, March 1995, p. 31.)
"The Landscapes, architectonic with their 'cubic factors' are ultimately lyrical. There's an unrestrained enthusiasm, a liberty in the application of color that is applied swiftly with a palette knife, creating smooth pulsating textures." (A. Ludwig, Souza, New Delhi, Dhoomi Mal Gallery.)
Jagdish Swaminathan describes Souza's cityscapes as "singularly devoid of emotive inhibitions." They are the "congealed visions of a mysterious world. Whether standing solidly in enamelled petrification or delineated in thin color with calligraphic intonations, the cityscapes of Souza are purely plastic entities with no reference to memories or mirrors." (J. Swaminathan, 'Souza's Exhibition', Lalit Kala Contemporary 40, New Delhi, March 1995, p. 31.)
"The Landscapes, architectonic with their 'cubic factors' are ultimately lyrical. There's an unrestrained enthusiasm, a liberty in the application of color that is applied swiftly with a palette knife, creating smooth pulsating textures." (A. Ludwig, Souza, New Delhi, Dhoomi Mal Gallery.)