Francis Bacon

Le style de Francis Bacon melange l'art d'antan, les artistes contemporains, le photojournalisme et le subconscient de Sigmund Freud. Par exemple, l'Etude d'apres le portrait du Pape Innocent X par Velazquez rappelle le Portrait du Cardinal Filippo Jacinto par Titian et, par des vetements ensanglantes, le style de l'egouttement par Jackson Pollock. Dans le Fragment de la crucifixion la figure qui bat les bras rappelle la Descente de la croix par Rubens et La chahut par Georges Seurat. Surtout dans ses peintures de la crucifixion du Christ, Francis Bacon devient photojournaliste, avec ses themes preferes de l'inhumanite, l'isolement, la trahison et le voyeurisme. Il devient psychanalyste dans le Portrait de Georges Dyer accroupi au style des baigneuses d'Edgar Degas, et dans l'Etude de la nue avec la figure dans le miroir c'est le style des voyeurs de l'arriere-scene par Henri de Toulouse-Lautrec. Alors lire le livre veut dire que l'on finit par apprendre un peu de l'histoire et de la technique de l'art.

FRANCIS BACON puts elements from the art of earlier centuries and the subconscious of Sigmund Freud into the bluntly powerful style of news photography. That style works for his themes of isolation, Peeping Toms, predatory people's inhumanity to others, and treachery, all of which can be found in his crucifixion scenes. I find his art cleverly disturbing, particularly in the way that he reworks Old and New Masters: Day- and Twilight-type figures from Michelangelo's de Medici tomb statues in "Triptych - studies of the human body"; Matthias Grunewald's "The mocking of Christ" in the bandaged eyes of the lone female witness to "Three studies for figures at the base of a crucifixion"; Titian's "Portrait of Cardinal Filippo Archinto" and Jackson Pollock-type drip in the curtain veiling and bloodspattered robe of "Study after Velazquez's portrait of Pope Innocent X"; Rubens' "Descent from the cross" and Georges Seurat's "La chahut" in the figure leaning over the T-shaped cross and the flapping arms showing successive motion in "Fragment of a crucifixion"; Diego Velazquez's "Las meninas" in the right panel-reflected artist of "Studies from the human body"; Rembrandt-type meat side in the European formal portrait-styled "Painting 1946"; Edgar Degas' tub-bathing women in "Portrait of George Dyer crouching"; Henri de Toulouse-Lautrec-type backstage observers in "Study of nude with figure in a mirror"; Marcel Duchamp's "The bride stripped bare by her bachelors, even (the large glass)" in the frustrated, mechanical love of "Three studies of figures on beds"; and Henri Michaux in "Statues and figures in a street" full of tiny dark figures. So Hugh Davies and Sally Yard's helpful text and well-chosen illustrations help reader understanding of what modern art is about and how one painter fits with other times. The authors help me go beyond theme, into art technique: their book applies Max Doerner's THE MATERIALS OF THE ARTIST AND THEIR USE IN PAINTING, Hazel Harrison's MASTER STROKES, and Waldemar Januszczak's TECHNIQUES OF THE WORLD'S GREAT PAINTERS.