I've said in other words,
the paint is closest to us
that it continues to warn us all appearance is an illusion.
And we lend his ear all
more attentive than painting is, in essence, mute.
Yet she asks us: no
would it not a form of presence?
What I watch is really what I give to
see? Or is it not rather I
conceals? The representation of an object
is not the object, only its image,
Magritte and we demonstrated strong
beautiful way, as we have seen. We have it
also seen many portraits or landscapes,
turn out as many self-portraits
the artist who made them. But he
is a painter who, somehow, makes the opposite approach,
and painter is
Francis Bacon.
The first thing that troubles us before
one of his self-portraits is their
Bacon resemblance itself, we
known by many photographic reproductions.
Yet the discomfort persists,
and we must remain still and quiet time
to understand its origin: this is
not the painter whom we contemplate is ourselves.
No doubt, the physiognomy
he shows us is his, this
flesh is his, such as brush strokes
are his. But it is a scrambled image
ghostly ourselves that the painter
we refer mirrored. Through these
shifting and contorted self-portraits,
he paints us as speculative portraits, in which we
can glimpse our
future. While visiting teenager
and by chance a Picasso exhibition in Paris
Bacon knew what he would do with his life.
The Spanish painter, it changes the process
simultaneity faces in one
space. For over fifteen years he has worked
jerkily, destroying most
of his paintings after having executed,
but gradually releasing its personal way.
Many of his paintings were inspired by
Unusual photographs of frozen characters
in strange or distorted attitudes
by light effects. In his shots
brush that blur or distort a
People moving in the shadows
reflections that mark certain areas of
his paintings, or the light sources
that illuminate an arm or a face, we feel
all the influence of the photo. Whereas
abstract art seems to have rejected the body
human, it in fact the center of his work,
trying to snatch his last secrets.
For Francis Bacon, the only theme that is worth
to be painted is still and always the man,
but he approaches as a being with others
dreams, other anxieties, which deserve
an unfamiliar appearance, a new technique.
Using unprimed canvas, it can
a cloth trail create an image
of an unsuspected power, then
dissolve into a shapeless magma. If attack
to animals, to the painted image
man, desperate, lonely and ugly.
In a wonderful essay published in 1981 in the
editions of The Difference - Logic of
sensation, the philosopher Gilles Deleuze wrote
this: Bacon is a painter not of heads and faces.
This is a very special project that
continues as a portraitist: undo the face,
recover or bring out the head
in the face. Sometimes the head is
replaced by an animal; this animal,
eg a dog is treated like a shadow
his master; or conversely that the shadow
man takes an autonomous animal existence
and indeterminate. The shadow leaves the body
like an animal that we abritions. The man
becomes animal, but it does not become
without the animal at the same time becomes
physical spirit of man presented in
the mirror as Destiny. Bacon does not say "pity
for beasts "but" every man
suffering is meat. " Pity
the meat! There is no doubt, meat
is the highest object of pity Bacon
his only object of pity ...
