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 Three Studies for the Portrait of Henrietta Moraes 1963 Oil on canvas three panels Each panel 14 1_8 x 12 1_8
written by Milan Kundera
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½ÇÁ¦·Î º¯±âÀÇ ¹° ³»¸®´Â ¼Ò¸®´Â ¸ØÃßÁö ¾Ê¾Ò´Ù. ±×·¡¼ ³ °©Àڱ⠱׳ฦ Áþ¹â°í ½ÍÀº Ãæµ¹ÀÌ ÀϾú´Ù. ±×³à¸¦ Áþ¹â´Â´Ù´Â ¸»ÀÌ ¶æÇÏ´Â ¹Ù´Â ¹«¾ùÀΰ¡? ±×°Ç ±×³à¿Í »ç¶ûÀ» ³ª´©°í ½Í´Ù´Â °ÍÀÌ ¾Æ´Ï´Ù. ³ª´Â ±×³àÀÇ »ç¶ûÀ» ³ë¸®°í ÀÖÁö´Â ¾Ê¾Ò´Ù. ³ ±×³àÀÇ ¾ó±¼¿¡ ÀÜÀÎÇÏ°Ô ¼ÕÀ» ¾ñ°í Àá½Ã¶óµµ ±×³à¸¦ ¿ÏÀüÇÏ°Ô ¼ÒÀ¯ÇÏ°í ½Í¾ú´Ù. ±×°Ç ±×³à°¡ °®°í ÀÖ´ø ÀÌÀ²¹è¹ÝÀÌ ÂüÀ» ¼ö ¾øÀ» ¸¸Å ³ª¸¦ ÀÚ±ØÇ߱⠶§¹®À̾ú´Ù. ³ª¹«¶ö µ¥ ¾ø´Â ¿ÊÂ÷¸²°ú ¿äµ¿Ä¡´Â âÀÚ, ±×³àÀÇ À̼º°ú ±×³àÀÇ µÎ·Á¿ò, ±×³àÀÇ Àںνɰú ±×³àÀÇ ºÒÇàÀ̶ó´Â ÀÌÀ²¹è¹ÝÀÌ ³ª¸¦ ÀÚ±ØÇÏ¿© ±×³à¸¦ ¼ÒÀ¯ÇÏ°í ½ÍÀº Ã浿À» ÀÏ°Ô Çß´ø °ÍÀÌ´Ù. ³ ÀÌ·± ÀÌÀ²¹è¹ÝÀÌ ±×³àÀÇ º»ÁúÀ» ¼û±â°í ÀÖ´Ù´Â ÀλóÀ» ¹Þ¾Ò´Ù. º¸¹°, ±Ý±«, ±×³àÀÇ °¡½¿ ±í¼÷ÀÌ ¼û¾î ÀÖ´Â ´ÙÀ̾Ƹóµå. ÀÌ·± °ÍµéÀÌ ±×³àÀÇ º»ÁúÀÏÁöµµ ¸ô¶ú´Ù. ³ª´Â ÇѼø°£À̳ª¸¶ ±×³à¸¦ °®°í ½Í¾ú´Ù. ÀÌ·ç Çü¾ðÇÒ ¼ö ¾øÀÌ °í±ÍÇÑ ¿µÈ¥À» Áö³æÀ¸¸é¼µµ µ¿½Ã¿¡ âÀÚ´Â ¶ËÀ¸·Î °¡µæ Âù ±×³à¸¦.
ÇÏÁö¸¸ ³ ºÒ¾ÈÇÑ µí ³ª¸¦ ÁÖ½ÃÇÏ´Â ±×³àÀÇ ´«À» º¸¾Ò´Ù. À̼ºÀûÀÎ ¾ó±¼ÀÇ ºÒ¾È½º·± ´«À» ¸»ÀÌ´Ù. ±×¸®°í ±×³àÀÇ ´«ÀÌ ºÒ¾È¿¡ Á¥¾î µé¸é µé¼ö·Ï, ³ªÀÇ Å½¿åÀ» ½ÇÇöÇÑ´Ù´Â °ÍÀº ±×¸¸Å ´õ ºÒÇÕ¸®ÇÏ°í, ¾î¸®¼®°í, Å͹«´Ï¾ø°í, ÀÌÇØÇÒ ¼ö ¾øÀ¸¸ç, ºÒ°¡´ÉÇØ º¸¿´´Ù. ³ªÀÇ Å½¿åÀº À߸øµÈ °ÍÀ̾ú°í ¶Ç ¿ë¼ÇÒ ¼ö ¾ø´Â ¼º°ÝÀÇ °ÍÀ̾úÁö¸¸, ½ÇÇö ºÒ°¡´ÉÇÑ °Í¸¸Àº ¾Æ´Ï¾ú´Ù. ÇÁ¶õ½Ã½º º£ÀÌÄÁÀÌ ±×¸° ¼¼Æø ±×¸²triptychÀ» º¸¸é, ³ ¸¶Ä¡ ±×¶§ÀÇ ±â¾ïÀÌ µÇ»ì¾Æ³ª´Â µíÇÔÀ» ºÎÀÎÇÒ ¼ö ¾ø´Ù.
È°¡ÀÇ ½Ã¼±Àº ÀÜÀÎÇÑ ¼Õó·³ ¾ó±¼¿¡ ³õ¿© ÀÖ´Ù. ±×·¯¸é¼ È°¡ÀÇ ½Ã¼±Àº ±× ¾ó±¼ÀÇ º»Áú, Áï ±× ³»¸é ±í¼÷ÇÑ °÷¿¡ ³õ¿© ¼û¾î ÀÖ´Â ´ÙÀ̾Ƹóµå¸¦ ¼ÒÀ¯ÇÏ·Á°í ¾Ö¾²°í ÀÖ´Ù. ¹°·Ð ±× ±íÀº ³»¸éÀÌ Á¤¸»·Î ¹º°¡¸¦ ¼û±â°í ÀÖ´ÂÁö ¾Æ´ÑÁö¸¦ ¿ì¸®´Â È®ÀÎÇÒ ¼ö°¡ ¾ø´Ù. ÇÏÁö¸¸ ±×°ÍÀº ¾î¶»´õ¶óµµ »ó°ü¾ø´Ù. ¿ì¸® ¸ðµÎ¿¡°Ô´Â ÀÜÀÎÇÑ ¸öµ¿ÀÛ, Áï ¼Õ³î¸²ÀÌ ÀÖ´Ù. ŸÀÎÀÇ ¾ó±¼À» ¾²´ÙµëÀ¸¸ç, ŸÀÎÀÇ °¡½¿¼Ó¿¡ ȤÀº ±× ±íÀº °÷¿¡ ¼û¾î ÀÖ´Â ¹«¾ùÀΰ¡¸¦ ¹ß°ßÇØ ³»·Á´Â ¼Õ³î¸²ÀÌ ¸»ÀÌ´Ù.
 Head VI 1949 Oil on canvas, 93.2 x 76.5 cm (36 5/8 x 30 1/8 in)
 Man with Dog 1953 Oil on canvas, 152.1 x 116.8 cm (59 7/8 x 46 in)
 Painting 1946 Oil on canvas, 198.1 x 132.1 cm (78 x 52 in)
 Self-Portrait 1971 Oil on canvas, 35.5 x 30.5 cm (14 x 12 in)
 Study for Crouching Nude 1952 Oil and sand on canvas, 198.1 x 137.2 cm (78 x 54 in)
 Three Studies for a Crucifixion - 1
 Three Studies for a Crucifixion - 2
 Three Studies for a Crucifixion - 3
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Onto Drool (2000) |
Onto Ooze (2001) |
Onto Drool (2001) |
"Very few people find their real instincts. Every now and then there's an artist who does and who makes something new and actually thickens the texture of life. But it's very rare you have to be able to be really free to find yourself in that way, without any moral or religious constraints. After all, life is nothing but a series of sensations, so one may as well try and make oneself extraordinary, extraordinary and brilliant, even if it means becoming brilliant fool like me and having the kind of disastrous life that i have had. That is it."
Francis Bacon, Francis Bacon: Anatomy Of An Enigma, Michael Peppiatt.
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Sliced Self Portrait (2001) |
Shape Shifting Self (2001) |
Slither Self (2001) |
"I don't know if critics of literature are the idiots that critics of painting are in this country, because they're the biggest idiots that exist. They know absolutely fuck all about it to begin with. They've got no instinct about it, they've just got theories."
Francis Bacon talking to Burroughs, Arena, BBC 1986. |
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Reclining Alien Self Portrait (2000) |
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Auto Alien Self Portrait (2000) |
"There is a kind of sensational image within the very, you could say, structure of your being, which is not to do with a mental image - when that image, through accident, begins to form..."
Francis Bacon, Interviews with Francis Bacon, David Sylvester. |
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Soggy Slime Self Portrait (2000) |
Soaked Self Portrait (2000) |
Severed Self Portrait (2000) |
"Painting is the pattern of one's nervous system being projected on the canvas" Francis Bacon |
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Reptile Ruin Self Portrait (2000) |
Reptile Ruin Self Portrait (2000) |
Coming Apart Self Portrait (2000) |
"But often the things that seem the most exaggerated can be the most true." Marilyn Manson |
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Ontological Drool Self-Portrait (1981) |
Shape-Shifting Reptilian (1981) |
Ontic-Slime Self-Portrait (1981) |
"Thinking in primitive conditions (pre-organic) is the crystallization of forms, as in the case of crystal. In our thought, the essential feature is fitting new material into old schemes, making equal what is new." Friedrich Nietzsche, The Will to Power. |
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Ontologically Transparent 1 Self-Portrait (1981) |
Headless Female Form (1980) |
Ontologically Transparent 2 Self-Portrait (1981) |
"A fact, a work is eloquent in a new way for every age and every new type of man. History always enunciates new truths." Friedrich Nietzsche, The Will to Power. |
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Alien-Being-towards-death (1979) |
Shape-Shifting-Alien Self-Portrait (1981) |
The Goat -Woman (1979) |
"Man is beast and superbeast; the higher man is inhuman and superhuman: these belong together. Terribleness and greatness belong together: let us not deceive ourselves."
Friedrich Nietzsche, The Will to Power. |
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Triptych 1 (1981) |
Triptych 2 (1981) |
Triptych 3 (1981) |
Allen Ginsberg on Francis Bacon's painting method: "He said he did it with a chance brushstroke that looked in the magic - a fortuitous thing that he couldn't predict or orchestrate".
"I don't know if critics of literature are the idiots that critics of painting are in this country, because they're the biggest idiots that exist. They know absolutely fuck all about it to begin with. They've got no instinct about it, they've just got theories."
Bacon in conversation with Burroughs, Arena, BBC 1986.
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Punk (1981) |
Punk (1981) |
Punk (1981) |
"Very few people find their real instincts. Every now and then there's an artist who does and who makes something new and actually thickens the texture of life. But it's very rare you have to be able to be really free to find yourself in that way, without any moral or religious constraints. After all, life is nothing but a series of sensations, so one may as well try and make oneself extraordinary, extraordinary and brilliant, even if it means becoming brilliant fool like me and having the kind of disastrous life that i have had. That is it."
Francis Bacon, Francis Bacon: Anatomy Of An Enigma, Michael Peppiatt, 1996.
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Wired-Self -Portrait(1981) |
Snide-Self-Portrait (1981) |
Sick-Self-Portrait (1981) |
"Perhaps, at its deepest level, realism is always a subjective thing. When I see grass, I sometimes want to pull up a clump and simply paint it on the canvas. But of course that would not work, and we need to invent the techniques by which reality can be conveyed to our nervous system without losing the objectivity of the thing portrayed."
Letter to Michel Leiris from Francis Bacon. |
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Self-Torso (2000) |
Self-Torso (2000) |
Self-Torso (2000)
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" My paintings are, if you like, a record of this distortion...Abstract art is free fancy about nothing. nothing comes from nothing. One needs the specific images to unlock the deeper sensations, and the mystery of accident and intuition to create the particular. Now I want to do portraits more than anything else, because they can be done in a way outside illustration. It is a gamble composed of luck, intuition and order. Real art is always ordered no matter how much has been given by chance."
Francis Bacon in conversation with Michael Peppiatt, 1963.
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Self-Alien-Portrait (2000) |
Non-Self-Portrait (2000) |
Ontic-Slime Self-Portrait (2000) |
"It's like looking into a mirror only it's not... When this is over I want you to take this face and burn it...You want to take his face off. Eyes, Nose, Mouth off."
From the Gage/Travolta film Face-Off. |
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Fractured Face Self-Portrait (2000) |
Half-Man-Half-Alien (2000) |
Face-Off Self-Portrait (2000) |
"Half monster, half human, Bacon's creatures are frozen not in a pose or image, but in time itself. - time as a continuous phenomenon, a dimension that is a more essential part of reality than mere appearance. The challenge for the artist, therefore, is not to make visible a detached moment of general time, a story, anecdote or piece of narrative, but to demonstrate time itself as a continuum."
Christophe Domino, Francis Bacon: Taking Reality by Surprise, 1997. |
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Self -Portrait (1980) |
Slither-Self-Portrait (2000) |
Slither-Self-Portrait (2000) |
"The existential-ontological constitution of Dasein's totality is grounded in temporality. Hence the ecstatical projection of Being must be made possible by some primordial way in which ecstatical temporality temporalizes. How is this mode of the temporalizing of temporality to be Interpreted? Is there a way which leads from primordial time to the meaning of Being? Does time itself manifest itself as the horizon of Being?"
Martin Heidegger, Being and Time, 1927.
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Slime-Self-Portrait (1999) |
Becoming Alien Self-Portrait (1999) |
Alien-Self-Portrait (2000) |
"Falling Being-in-the-world is not only tempting and tranquilizing; it is at the same time alienating. Yet this alienation cannot mean that Dasein gets factically torn away from itself. On the contrary, this alienation drives it into a kind of Being which borders on the most exaggerated 'self-dissection', tempting itself with all possiblities of explanation, so that the very 'characterologies' and 'typologies' which it has brought about are themselves already becoming something that cannot be surveyed at a glance."
Martin Heidegger, Being and Time, 1927.
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Self-Body-Portrait (1981) |
Alien-Self-Body-Portrait (2000) |
Self-Torso-Portrait (1999) |
"I myself think you have to break technique, break tradition, to do something really new. You always go back into tradition, but you have to break it and reinvent it first.."
Francis Bacon, Francis Bacon: Anatomy Of An Enigma, Michael Peppiatt, 1996. |
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Soiled-Self-Portrait (1980) |
Alien-Self-Portrait (2000) |
Liquid-Self-Portrait (1980) |
"The whole thing has become so boring and bourgeois. Art is just a way now of making money."
Bacon interview with Peppiatt, Art International, Autumn 1989, Paris. |
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Self-Torso-Portrait with Liquid Leaking Head (20000 |
Reptile Slit-Head self-portrait (2000) |
Razor-Reptile Self-Portrait (2000) |
"I do, of course, work very more by chance now than I did when I was young. For instance, I throw an awful lot of paint onto things, and I don't know what's going to happen... I throw it with my hands. I just squeeze it into my hand and throw it on".
Francis Bacon, Francis Bacon: Taking Reality by Surprise, C Domino, 1997. |
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Being-There Self-Portrait (1999) |
Fused-Self-Portrait (1999) |
Early Self-Portrait (1979) |
"Great art has always returned people to life more violently. And they appreciate life in a more intense way - abstract art is a form of pattern making...For me abstract art can be nothing but decoration because there is nothing to anchor it except its artistic allure".
Francis Bacon, The Gilded Gutter Life of Francis Bacon, Daniel Farson. |
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Being Nearly Reptile Self-Portrait (1999) |
Shape-Shifting-Alien-Self-Portrait (2000) |
Rembrandt-Reptile Self-Portrait (1999) |
"All I want to do is distort reality of the human figure into reality...You know, the trouble with Lucian's work is that it's realistic without being real."
Francis Bacon talking to Daniel Farson about Lucian Freud. |
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Only-Half-Human Self-Portrait (1999) |
Auto-Alien Self-Portrait (2000) |
Face-Off 2 Self portrait (1999) |
"Instinct arises out of that whole unconscious sea inside us...I just work as closely to my nerves as I can, and as I'm bound up closely in my world today, perhaps it does reflect savage tensions and vacuous spaces...Nietzsche forecast our future for us...he told us it's all so meaningless we might as well by extraordinary."
Francis Bacon, The Gilded Gutter Life of Francis Bacon, Daniel Farson. |
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Face-Off 1 (1999) |
Alien-Self-Portrait (2000) |
Face-Off 2 (1999) |
"It's only due to your own nervous system that you can paint at all...so the thing is, how can I draw one more veil away from life and present what is called the living sensation more nearly on the nervous system and more violently?"
Francis Bacon, The Gilded Gutter Life of Francis Bacon, Daniel Farson.
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Shape-Shifting Reptilian Self-Portrait (1981) |
Alien-Self-Portrait
Hybrid (1980) |
Alien-Self-Portrait Hybrid (1980)
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