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Draft:The Last Supper (Souza)

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  • Comment: There is a list of sources but no inline citations. Aintabli (talk) 06:31, 9 February 2024 (UTC)

Francis Newton Souza painted, in one of his later religious paintings, a reinterpretation of Leonardo da Vinci's The Last Supper (1495-98), in his oil on canvas painting The Last Supper (1990). The painting represents the biblical narrative of the Last Supper of Jesus with the Twelve Apostles, recounted in The Gospel of John. Notably diverging from da Vinci's approach as it depicts each character abstractly, drawing parallels to some of Picasso's later works and highlighting the influences from the Bombay Progressive Artists Group. The scene in particular shows the moments after Jesus announced that he is the living bread and wine, to take part in communion in remembrance of him. A discernible connection exists between this artwork and Souza's earlier explorations of religious themes. Measuring 121.6 x 182.9 cm, the painting currently resides in a private collection.

Painting subject[edit]

The faces of Jesus' apostles exhibit distorted features characterized by bold black outlines and asymmetrical qualities reminiscent of Souza's subjects from the late 1950s to 60s, such as the subjects in his painting Crucifixion (1949[1]). This painting continues to embody similar characteristics, although this time, the emphasis is more on the disciples than on the subject of Jesus as he does not hold the same facial distortion besides the elongated neck and asymmetrical features. Notably, Souza bestows a newfound dignity upon the figure of Christ in this piece, a departure from the earlier Crucifixion (1949). Removing contextual backgrounds in his religious depictions, Souza invites viewers to perceive the paintings with a timeless relevance, sparking discussions on power, suffering, sex, and inequality. His religious satire extends past individual figures and symbols as it captures the ideals of a broader cultural commentary. Souza's religious artworks question the role of religion in shaping societal norms while also influencing cultural practices that can mirror the human experience of exploration and meaning beyond the boundaries created by religious frameworks.

References[edit]

  1. ^ Tate. "'Crucifixion', F.N. Souza, 1959". Tate. Retrieved 2024-02-05.
  1. Treves, Toby. "'Crucifixion', F.N. Souza, 1959." Tate, January 1, 1970. https://www.tate.org.uk/art/artworks/souza-crucifixion-t06776.
  2. Elliot, David, and E. ALKAZI. "Francis Newton Souza." Essay. In India: Myth & Reality Aspects of Modern Indian Art. Oxford: Museum of Modern Art, 1982.
  3. Treves, Toby. "Souza." Essay. In Bacon, Freud, Mehta, Souza: An Exhibition of Works by Francis Bacon, Lucian Freud, Tyeb Mehta and F.N. Souza, 31st August-20th September. London: Grosvenor Vadehra, 2007.
  4. Mullins, Edwin. F.N. Souza: An introduction. London: A. Blond, 1962.
  5. "History Lessons, No 11: An Interview with F.N. Souza." ArtReview RSS. Accessed December 14, 2023. https://artreview.com/history-lessons-no-10-interview-with-f-n-souza/. .
  6. Belsham, Frances. "A Monumental Reinterpretation of Leonardo Da Vinci's Last Supper." Sothebys.com, November 4, 2019. https://www.sothebys.com/en/articles/a-monumental-reinterpretation-of-leonardo-da-vincis-last-supper.
  7. Zitzewitz, Karin. "Karin Zitzewitz. Review of 'Visions from India'  by Greer Pagano and the Pizzuti Collection." caa.reviews, 2018. https://doi.org/10.3202/caa.reviews.2018.84.
  8. C.P. Wood, 'FN Souza: India's First Modern Artist', The Guardian, 17 June 2002 https://www.theguardian.com/news/2002/jun/17/guardianobituaries.obituaries
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