By Selma Carvalho

Issue no 21

In the end, F. N. Souza belongs to Goans. Apart from the Tate Gallery, London, displaying one of Souza’s most emblematic works, the ‘Crucifixion,’ and Grosvenor Gallery having the occasional retrospective, F. N Souza elicits little recognition. There are no biographies paying tribute to the artist, no English heritage plaques commemorating the places he lived in, nor are there regular references made to his work in that definitive art reviewer, the TLS; he does not seep into the British consciousness the way his contemporary Francis Bacon does or even the less distinguished and one-time boarder at Souza’s house, Keith Vaughan does.