| Dramatic depictions of human bodies - is painful coiling, deliquescent, wringing each other, entwined - to determine the motive repertoire of Francis Bacon (1909-1992). Like no other artist of his generation, Bacon has the drama of the vulnerable, defenseless body staged. From his pictures, he banished all the anecdotes and narrative and focused on the physical presence of the flesh. Bacon put the body in the scene, the chancer seem vulnerable and fell, but at the same time auftrumpfend, vital and aggressive claim. In aesthetic gives rise to contradictions such as shock-like size and experience of finitude of human existence.
"Great art is always there," said Bacon, "the so-called factual, what we know about our existence, and to summarize in a new light." The veil of false conceptions and ideas that emerged repeatedly determine the factual, the artist was looking to rip. He shows us characters with human traits, in their artistic appearance and at the same time fascinated by her physical deformity frightened. His sometimes slip into zoomorphic beings remain mostly isolated and insecure to act on stage-like platforms, in empty, windowless rooms or in cage-like structures. (Source: K20 Art Collection North Rhine Westphalia) |
