This etching is based on the left panel of the Metropolitan Triptych painted by Bacon between 1974 and 1977. It was printed in a limited edition of ninety-nine signed and numbered impressions (plus fifteen artist's proofs with Roman numerals) published by Ediçiones Polígrafa Barcelona in 1981

and distortions are an expression of Souza's personal and political fears. In this respect it has something in common with Francis Bacon's paintings ... "The post-war angst that had inflicted the whole of Europe and the works of artists like Francis Bacon and T S Eliot would also draw in its fold a painter

returned to India after a 5 year stint in Europe. It was also later that he adopted the macabre distortionist style of Sir Francis Bacon and the flat

If Francis Bacon was the dominant force in Post War British painting then Bernard Buffet was the French equivalent during the 1950s. With his use of black spiky lines to demarcate form and color and his depictions of everyday scenes he captured the spirit of ration era Paris. He was an inspiration

Church and the spiritual authority their leaders claimed to embody. Francis Bacon (1909–1992) whom Souza exhibited with as early as 1954 painted a series ...are of alarming figures screaming and clutching at the arms of their thrones. (Right Francis Bacon Francis Bacon Study after Velazquez I 1950)

In the postwar climate of London artists like Francis Bacon used their art to reflect the brutal reality of a society still reverberating from the war. Souza - whom critics have often likened to Bacon and who was himself reeling from the political atmosphere of a newly independent India - experienced a similar

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