Francis Newton Souza 1924-2002 Untitled

Like the nudes of Manet, Rouault and de Kooning Souza's female figures appear naked rather than nude, their nakedness a mark of material reality. This particular composition recalls Manet's Le Dejeuner sur l'herbe (1863), her confident gaze unnerves the viewer, both acknowledging her blatant sexuality and vulnerability. 

Souza's nudes are often portrayed alongside a leering fully clothed male  What is interesting about this composition is that the figures are placed against a typical Souza townscape backdrop of tumbling churches and buildings thus combining two of Souza's most predominant themes; sex and religion.

'As a Roman Catholic youth, born in Goa, I was familiar with the priests bellowing sermons from pulpits against 'sex' and 'immodesty' particularly addressed to women, making them stricken with guilt.  The Catholic men stood cocky in their suits and ties agreeing with the priests, lusting for naked women inwardly. Hypocrites!' (Dalmia, 2001, p.92.)