In the Scottish National Gallery of Modern Art, a drawing by Picasso for one of his Weeping Women is a profound tribute to the suffering of Spain in the civil war - but Picasso compromised himself by joining the Communist party, after Stalinists had systematically betrayed Spain.
Especially, in the Man in Blue series, of Pinter.
His face is probably more familiar in photographs now than his paintings are - that hand grenade of a phiz, photographed in ruddy old age over his shiny leather jacket or portrayed in pensive prime by his friend Lucian Freud.
Francis Bacon was one of the most controversial artists of his day and he still remains one of the most important modern artists of all time.
This is the face of Francis Baconas he depicted it in the Art bacon culture essay francis in loss self panel of his triptych Three Studies for a Self-Portrait. He is a theorist of art. Bacon, for all his butchery, found faces worth painting, and repainting; people worth knowing, and, it seems, worth loving.
None of the disfigurements are ever used twice. Even so, it is extreme to have portrayed a pope as a war criminal in a protective vitrine. Today, Pinter has been so browbeaten by such criticism that the greatest modern writer of English prose has reinvented himself as "political" and publishes doggerel criticising Tony Blair.
Before the gloomy, claustrophobic curtained backgrounds of his pictures there loom up in front of us beings whose presence is as disturbing, as unexpected, as fleeting, as commanding, as the presences of other people which in life confront and torment us with their portentous ambiguity Sylvester Bacon is not just showing us violence so that we may associate it with the process of self-actualization, however.
There is no other artist of his time who was able to do this so expertly. What he did do was learn to love the hideous ape. Seen in this light his purpose is to discover what painting can do in the photographic age and - which is not unrelated - whether it can survive the death of God.
What is the difference? Since his death inBacon has gone through all the vicissitudes of a modern master - the disputes over galleries and suspect drawings, the ghastly biopic, and, in a muted sort of way, the critical reaction. Bacon is a master, and this exhibition establishes that all the more effectively by seeing him from a modest and prosaic point of view - Bacon the portraitist and student of the human head.
As you walk through the rooms digesting all his gross abuses of the human face you realise with mystified shock that not once does he repeat himself.
The mere play of opposing physical forces is not suffering, because for there to be suffering there must be something over and above physical interaction.
The Vatican had a less than exemplary record of standing up to the Nazis. Bacon is the painter who delivered the worst news about the modern world. His one visible eye is right against the wound. At the time he painted Head I, in ,"responsible" people were busy separating the depravities of Auschwitz from accounts of mass murder inside the USSR.
Bacon never betrayed himself in that way. His portraits of Dyer and Freud are brutally exposing of the fragility of flesh - and insist that flesh is all we are. You wake up to discover people have been reduced to fragments in the name of the god of the cruel and stupid.
He likes the sense of immediacy which it gives, and its implication of transience" The most poignant room contains four canvases from a series called Man in Blue, from University of California Press. It is so theatrical. It is anecdote - it is a souvenir of someone.
Nothing but us lumps of meat. The left is good at self-delusion. Why is it a pope who screams in a glass booth, the top of his head missing to leave a purple howling mouth in white scar tissue in his painting Head VI?
One of them is Lucian Freud. Humanism was still the watchword of the left. There is a tradition in high art - the kind Bacon made - of studying, or fantasising, the head itself, mapping the extremes of expression and physiognomy.
Bacon was a tragic painter because of the victims he places in their tormented situations coupled with their "air of defiance in the face of destiny" Sylvester Fascists killed millions but revolution killed millions more.
There is a certain ethical dimension to violence and suffering that Bacon is showing and this is what is so offensive Dyer There is no other painter as great as Bacon who has owed so much to photography I used to really dislike him. Bacon was an apolitical, good-for-nothing gambler with no principles to blind him to reality.
And that is why it fell to him to acknowledge the real meaning of the atrocities whose photographic evidence appeared all over the world with the defeat of Germany.Francis Bacon produced some of the most iconic images of wounded and traumatized humanity in post-war art.
Borrowing inspiration from Surrealism, film, photography, and the Old Masters, he forged a distinctive style that made him one of the most widely recognized exponents of figurative art in the s and killarney10mile.com Of Birth: Dublin, Ireland.
These paintings are the equivalent in visual art of Bacon's great postwar drama contemporaries - he is the Beckett, Ionesco or Pinter of art. Especially, in the Man in. Francis Bacon and the Loss of Self (Essays in Art and Culture) Paperback – January 1, by Ernst Van Alphen (Author).
killarney10mile.com: Francis Bacon and the Loss of Self (Essays in Art and Culture) () by Ernst Van Alphen and a great selection of similar New, Used and Collectible Books available now at great prices. Francis Bacon and the Loss of Self (Essays in Art & Culture) by Ernst Van Alphen available in Hardcover on killarney10mile.com, also read synopsis and reviews.
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern. Essays in Art and Culture: Francis Bacon and the Loss of Self by Ernst Van Alphen (, Hardcover).Download