This is Bacon 디스 이즈 베이컨

디스 이즈 베이컨 This is Bacon 국내도서 저자 : 키티 하우저(Kitty Hauser) / 이현지역 출판 : 어젠다 2016.03.15 상세보기ㅂqjs

번역서 나왔네? 

소장형태: 영문판

key words

그림과 언어

그림의 작동 방식

프란시스 베이컨

Francis Bacon 

p.6

Much of what is said about Bacon and his work derives from a series of recorded conversations he had with the art critic David Sylvester. Artists are not always good at putting what they do into words. But Bacon had a talent for talking, and provide some of the best things ever articulated about art and the impulse to make it, straight – as it were – from the horse’s mouth.

             Despite his eloquence, Bacon always insisted that his pictures could not be explained. If they were reducible to words, there would be no point in painting them. They would be no more than illustration, a word he used a lot, as if by repeating it with disdain he would avoid falling into its trap. But Bacon did have a lot to say about what painting is, and what it should do to the viewer.

    

p. 7 

         Painting is a struggle, he said, much concerned with chance. Sometimes it works, but often it doesn’t. Successful paintings are those which ‘open up the valves of sensation’, the ones that bypass the intellect and go straight to ‘the nervous system’. Bacon wanted his paintings, like Greek Tragedy, to ‘return the onlooker to life more violently’. And he wanted this to happen through the operation and effects of the painted image, not through any kind of narrative, symbolism or interpreted meaning. The challenge was to be as ‘factual’ – as he put it – as possible, without resorting to illustration. The ‘fact’ has to be trapped, like a wild animal. This is a very uncertain process, but it is more likely to happen when the painter is not fully conscious of what he is doing. He is a conduit, not a creator. The paintings what work best, Bacon believed, are those that are unexpected.