.jpg?w=1)
拍品专文
After observing with wonder the infinite skies as far as possible with naked eyes from a small hill on a clear and star-filled night, you ask me to fix what I saw as well as what I know of the unknown Infinite [...].
(F. N. Souza, 'Notes from my Diary' in F. N. Souza: Words and Lines, London, 1959, p. 19)
Showing the leading artists of the Ecole de Paris, Raymond Creuze had one of the largest galleries in Paris during the 1950s. S. H. Raza and Akbar Padamsee had already arrived at the thriving, vibrant capital when Untitled (Paysage - 1954) numbered amongst the select works exhibited at Souza's solo show at Galerie Creuze in 1954. Noted in his diary, a work such as this was born of contemplation of the Infinite: depicting a 'small hill' the night has been transformed by the church, like a star, from which a subtle glow emanates. Areas of impasto reflect the shimmering 'star-filled night' and inspired by stained glass windows, vivid coloration juxtaposed with dense black pigment is swiftly atmospheric. One year later the artist's acclaimed autobiographical essay, 'Nirvana of a Maggot' was published by Stephen Spender in Encounter magazine and Souza had his first solo exhibition at Gallery One, London. Experiencing marked critical success during this period, renowned art critic John Berger devoted a whole article in the New Statesman and remarked that Souza 'straddles many traditions but serves none.'
(F. N. Souza, 'Notes from my Diary' in F. N. Souza: Words and Lines, London, 1959, p. 19)
Showing the leading artists of the Ecole de Paris, Raymond Creuze had one of the largest galleries in Paris during the 1950s. S. H. Raza and Akbar Padamsee had already arrived at the thriving, vibrant capital when Untitled (Paysage - 1954) numbered amongst the select works exhibited at Souza's solo show at Galerie Creuze in 1954. Noted in his diary, a work such as this was born of contemplation of the Infinite: depicting a 'small hill' the night has been transformed by the church, like a star, from which a subtle glow emanates. Areas of impasto reflect the shimmering 'star-filled night' and inspired by stained glass windows, vivid coloration juxtaposed with dense black pigment is swiftly atmospheric. One year later the artist's acclaimed autobiographical essay, 'Nirvana of a Maggot' was published by Stephen Spender in Encounter magazine and Souza had his first solo exhibition at Gallery One, London. Experiencing marked critical success during this period, renowned art critic John Berger devoted a whole article in the New Statesman and remarked that Souza 'straddles many traditions but serves none.'