Book Description
Francis Bacon (1909-1992) is often said to have "put the pain in painting." His subversion of artistic conventions and religious symbols created a sensation during his lifetime. Even after his death, his paintings of distorted figures and fractured spaces continue to ignite controversy. To some, Bacon's imagery is a profound interpretation of the tragic human condition; others declare it violent and disgusting. This book examines the way Bacon's paintings were made, with reference to his life and words, revealing the strong influence of literary modernism. In particular, Bacon's rhetoric draws from the despair and guilt expressed by Charles Baudelaire, T. S. Eliot, and Ezra Pound. Andrew Brighton introduces Bacon as an ideologue who elaborated his view of the world--a view with origins in his homosexuality and his rejection of and by his colonial background--through his art. Brighton elucidates the values and meanings that can be ascribed to Bacon's sometimes shocking works, including his "screaming Pope" triptych. He also critically discusses previous interpretations of this provocative, self-taught artist.
About the Author
Andrew Brighton is a critic and currently Curator of Specialist Programs at Tate Modern.
Francis Bacon FROM THE PUBLISHER
Francis Bacon (1909-1992) is often said to have "put the pain in painting." His subversion of artistic conventions and religious symbols created a sensation during his lifetime. Even after his death, his paintings of distorted figures and fractured spaces continue to ignite controversy. To some, Bacon's imagery is a profound interpretation of the tragic human condition; others declare it violent and disgusting. This book examines the way Bacon's paintings were made, with reference to his life and words, revealing the strong influence of literary modernism. In particular, Bacon's rhetoric draws from the despair and guilt expressed by Charles Baudelaire, T.S. Eliot, and Ezra Pound.
Andrew Brighton introduces Bacon as an ideologue who elaborated his view of the world—a view with origins in his homosexuality and his rejectionof and by his colonial background—though his art. Brighton elucidates the values and meanings that can be ascribed to Bacon's sometimes shocking works, including his "screaming Pope" triptych. He also critically discusses previous interpretations of this provocative, self-taught artist.
FROM THE CRITICS
KLIATT
The books in this series are quite handsome and thoughtfully put together. Each runs just short of 80 pages, with something like 60 illustrations (over half in color). The text is clear and sophisticated without being abstruse, and chapters are inviting with the attractive use of illustrations and numerous bold print sub-heads. Chapter titles don't guide students clearly as far as text organization goes, but life and works can be sorted out using the notes and index at the back. No small matter for youngish readers, these books feel comfortable in the hand and the color covers inveigle readers to pick them up and turn the pages. Other books in the series that now numbers nine include: Hogarth, Blake, and JMW Turner. (British Artists) Category: The Arts. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2001, Princeton Univ. Press, 80p. illus. notes. index., $14.95. Ages 16 to adult. Reviewer: Daniel J. Levinson; History & English Teacher, Thayer Acad., Braintree SOURCE: KLIATT, March 2002 (Vol. 36, No. 2)
Art & Photography
Book Info
