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拍品专文
Francis Newton Souza immigrated to New York in September 1967. The city of New York with its masculine titanic sky scrapers, incessantly iridescent facades and burning lights of perpetual motion offered Souza a visual cornucopia on which to feast. Souza gorged himself on America and regurgitated it in paint within his own artistic vernacular. While in New York, Souza was exposed to the totality of Abstract Expressionism and the work he produced during this period was a reaction against the movement's fundamentals of a purely nonrepresentational art.
Painted in 1969, the bold blocks of yellows, reds, greens and blues, no longer resemble the stained glass windows of the Catholic church of his early 1960s paintings -- but the bright lights of Times Square or Broadway. The bright brash buildings dance across the canvas as they wrestle with the forest and foliage encircling it. The turret reaches out of this suffocating shrubbery as the pastoral and urban traditions collide in a celebration of visceral violence. Trees and buildings indiscriminately billow in a beating wind as they dissolve and dissect the foreground, delighting and discombobulating all at once.
Painted in 1969, the bold blocks of yellows, reds, greens and blues, no longer resemble the stained glass windows of the Catholic church of his early 1960s paintings -- but the bright lights of Times Square or Broadway. The bright brash buildings dance across the canvas as they wrestle with the forest and foliage encircling it. The turret reaches out of this suffocating shrubbery as the pastoral and urban traditions collide in a celebration of visceral violence. Trees and buildings indiscriminately billow in a beating wind as they dissolve and dissect the foreground, delighting and discombobulating all at once.