文化弗朗斯西.培根 Culture,Francis Bacon

The most outstanding artist Francis Bacon, Chinese mainland's first exhibition in twentieth Century, was also exhibited in the art gallery of Xiamen Art (October 28, 1909 -April 28，1992 ). For example: repeated derivative creation of Diego Rodríguez de Silva y Velázquez's portrait of Pope Innocent X; the crucifixion of Jesus; and a large number of portraits.

The series of collage works on Francis Bacon oil painting stick paper, most of which were painted in his later years, namely Venice, Bologna and other places in Italy between 1987 and 1990, have been documented and few of them are completed in London studios.

In Bacon's most important art critic, art historian, Bacon's "insider" Edward Lucy Smith wrote: "Bacon found his fame hard to bear. His solution is to escape to a place where few people or no one knows him. Francis Bacon began to travel regularly to Italy, where everything was quiet and he was far away from the people who watched him closely. He is often accompanied by his companion CRISTIANO LOVATELLI RAVARINO, who is a handsome young man of mixed race. They often haunt the bars and restaurants in Venice. After that, he will devote himself to painting and creating collages and mixed media. After leaving the studio, he will replace them with portable materials for continuous creation. At the end of his life, he especially wants to try new media... " This is the background of these collages.

Accompanied by his beautiful young partner, Bacon's complete works with new materials are reminiscent of Michelangelo's sketches for young Tomaso Cavallieri. In the heart stirring depth of art history, the experience of masters is similar to samsara, which shows the transcendental sense of art emotion.

The first exhibition of these works in Xiamen is of special importance to Bacon's artistic feeling and understanding. They will open up a new road for young artists. They are important not only in quality and technology, but also because they came into being in the final stages of Francis Bacon's artistic activities. He drew them at the end of a reflection, touching all the works of art he had created in his life. His remarkable feature is that he summarized the important themes in his early creation in the 1950s, such as copying the portraits of Pope Velázquez, businessmen, and even a series of portraits of clergy. Perhaps his inspiration came from the images of figures he saw on the streets of Italy.

Let's comb the continuity of Bacon's aesthetic creation from the continuous collection. From Edinburgh, the Scottish National Gallery of modern art, two pieces of Bacon's works, character composition I 1945-1946, oil painting on canvas, 123x105.5cm, and portrait composition, 198x147.5cm, were hung side by side in March 1991 and 1991. (1) In the collection of Tate Art Museum in London, there are two identical and repeated paintings "three character exercises based on Ding Xing Tu". In 1944, each painting is 94x73.7cm (2) with oil paint and pastel on wood, and "three character exercises based on Ding Xing Tu". In 1944 (1988), each painting is 198x147.5cm. (3) It was collected by London Art Museum in the same year, and sold to MOMA in New York two years later. In 1946, oil paint and pastel were applied to linen cloth, 198x132cm, (4) and repeated painting collected by Ludwig Art Museum in Cologne, 1946 (1971) oil on canvas, 198x147.5cm. （5）

Until 2020, a series of oil stick collages collected by Chinese collectors, fb001 head portrait, 1986, 70x50cm; fb008, Pope, 1987100 x 70cm; fb009, Pope, 1986100 x 70cm, (6) amazingly present the potential continuity of Bacon's aesthetic development and the great cultural circle behind Bacon's 50 year artistic career. As bacon himself said, "I like large-scale perfection.”.

Art historians have identified the sources and context of Bacon's paintings: medical books, X-rays, images (photography, art history, Picasso, etc.) or the use of films. Bacon's creation itself explains the direction of culture as a fermentor, and produces on the knowledge platform, and intuitively guides: the sculpture of traascaz of the Renaissance to the 20th century, films such as the battleship, the potion, and the details of the massacre by puzan, which became the source of images of Bacon's main theme paintings such as the Pope x study of innosson, and also explained the theme of painting in the field of painting The historical changes have far-reaching significance and the long-term effect of the transformation process in the field of painting (7) the canvas painting 140 × 120cm 1650 of the Pope innosson X by traskards; (8) FrancisBacon's work on canvas according to the portraits of Pope enossen X of Venezuela (9) the battleship, the general, director: Sergey Eisenstein. 1925, lens. (10) Details of the massacre by Pusan, 1630-1631), etc., analysis of works.

Francis Bacon, written by Bacon expert John Russell, discusses the context of bacon and his time, linking the history of the West in his lifetime. Eliot published Four Quartets in 1944, Orwell's animal farm and Henry Green's love. In Bacon's view, the humble old man, which Baudelaire dedicated to Hugo, is close and grand, showing the whole Paris to the audience. From the perspective of his involvement in European culture, Hugo behind Baudelaire, Poussin behind bacon, and so on, Bacon's aristocratic preference lies in Baudelaire's poem: "bustling and dreamy city / ghost, the sleeves of pedestrians in broad daylight! Bacon said, "as long as people fully accept everything, it may bring some extraordinary results.". Beckett, Proust, McBride, Lucian Freud and Stravinsky are all transformed into works by him.

Bacon read Ulysses around 1930 (the book was published in 1922). The writing style of James Joyce (1882-1941), an Irish writer and poet, had a great influence on him. In the formation of one sentence after another, layers of structure and a large number of shocking feeling traps were transformed into his own picture by bacon. The late 1940s is the heyday of extreme forms. Camus's the outsider, Sartre's confinement, and kussler's the darkness of noon are the context for us to understand Bacon's portrait series. Sandro Orlandi, a famous Italian curator, wrote a panoramic introduction to Bacon, saying that "Bacon's portrait is touching human beings". The small heads in these collections have their own souls as well as inside, "expressing the most incisive human beauty (Bacon's own words)". The portrait is full of the whole picture, and there is no need for larger paper to show redundant blank space, because the Venetian face he touched has been immortal in the image chronicle, because in the late 1980s, bacon redraws the past theme in his leisure time in the bay of Baudrillard, and it really returns to the "most basic state". These portraits are not only continuous in appearance, but also overlapping, and different from the common forms in our lives. The picture will never be reduced to a kind of decoration because of adventure.

According to John Russell, Bacon painted Freud's portrait in 1951 based on Kafka's youth photos. It is difficult to find similarities, but it is faithful to the fleeting character. Degas crayon draws the relationship between the spine and the skin; Newman's line drawing; and Bacon's transitional portrait work "Miss Muriel Belcher", Shakespeare's famous phrase "survival or death" is the solution to Bacon's important problem. In the spring of 1958, Bacon saw Degas's monotype paintings and sketches at the Loveville Gallery in London. He began to experiment with paintings on paper. Since he often gave out to friends, he left evidence of paintings on paper. In 1988, Bacon repainted his early themes in Italy. Here, the oil pastel collage, color and brushstrokes, realized the tribute to Degas, as if it was easy to knock off the middle part of Newman’s paintings and the colored cardboard. Memories of the structure of Miss Belcher. By the 1964 "Three People in the Room" (1964, oil on canvas triptych each 198x147.5cm) (11), Bacon was already the most outstanding person, and most prestigious museums had at least one of his works. . Since Bacon painted portraits of his friend 

Lucian Freud in 1951, by the end of the 1980s, repainting the subject matter of his early years in Venice has made reality surprising. At this time, Bacon, as a master, has become a pulverizer and devoted himself to the irreducible self.

Bacon's circle of friends and experts, from David Sylvester, John Russell, and Edward Lucie Smith to the philosopher Gilles Deleuze, have brought the charm of cultural history since the 1920s. Their interviews or monographs about bacon are like rich and clear maps, which are haunted by the streets, but in terms of oil paintings on paper, Edward Smith is the most authoritative, and he accompanies him to witness. Read Bacon's works, read Bacon's experts and circle of friends' monographs, and the whole reading is similar to Joyce's Ulysses, a map of Western cultural history. Therefore, Phaidon. Focus is labeled @ you read the corresponding background: Eliot's Four Quartets, Sartre's existentialism, mcbridge's continuous shooting, chimabuye's Cross, Shakespeare, etc. However, bacon transcends all previous artists and art theories. His directness unfolds the deepest problems of contemporary art, and shows the divinity, spirituality and art itself. This phenomenal master is involved in all aspects of contemporary social spirit: artistic system, political correctness, sexism, intellectual property, human nature, love and freedom, etc.

Back to Bacon's oil painting stick paper collage series (size: 70x50100x70150x100cm) is a brand new ecstasy about the power of obsession. Therefore, Edward Lucy Smith said in the depth of art history, "these works have a fascinating level, that is, they make bacon look like a mythical Laocoon, just like Laocoon wants to get rid of the python around him. He tries to get rid of the false myth about him and return to the fun of creating for art - only for this reason.”.

Extended reading: Francis Bacon's stick collage painting - source and exhibition history

Francis Bacon's oil painting stick collage painting series, whose materials are oil painting sticks and collages on paper, was created between 1987 and 1990. It was donated to Cristiano Lovatelli Ravarino's Francis Bacon collection. Umberto Guerini, the Francis Bacon foundation of the In his article "Francis Bacon and his published Italian sketch", chairman and curator of drawings, confirmed that the series of works are all from Bacon's gift to his unofficial lover Cristiano Lovatelli Ravarino. The article was published in the album "floating in the world: Francis Bacon Exhibition" of Kaohsiung Municipal Art Museum from February 25 to May 20, 2012.

The famous Italian lawyer, Umberto Gallini, as the chairman of the Francis Bacon foundation of the drawings, the special administrator and curator, confirmed that the series of works are from Bacon's gift to his unofficial lover Cristiano Lovatelli Ravarino. (12) Cristiano, the owner of the painting, also wrote: "he turns pain into something sweet for all of us.". In fact, since 1992, Bacon's friends have revealed that Bacon has a lot of fascinating works on paper. Martin hammer, his art critic, also said: "in the future, bacon may leave us a different impression than today.". Bacon, as we have known and seen before, is only the tip of the iceberg of Bacon's large-scale love. Therefore, we are ecstatic to meet Bacon's works on paper.

The works are certified by Edward Lucy Smith, one of the most important historical and artistic critics of Francis Bacon's works. Edward is a poet, art critic and prolific art book writer. He is the author of more than 200 art books and hundreds of illustrated papers. In his sketch of Francis Bacon, Edward strictly infers the source of authenticity of Bacon's sketch and the basis of art history as an independent work. "A remarkable feature of this series of sketches is that they summarize the important themes of his earlier paintings," Edward said. The article was published in the album "floating in the world: Francis Bacon Exhibition" of Kaohsiung Municipal Art Museum from February 25 to May 20, 2012.

The work will be accompanied by the original work guarantee certificate of origini foundation, the sponsor of China Italy Contemporary Art Biennale. Sandro Orlandi, a famous Italian curator and scholar, pointed out in the "composition report" of some of his works that "there are no abnormal color drops or scratches in the painting, and there are no traces of later restoration. The overall inspection of the work shows that the preservation of the work is in a correct and perfect state.

So far, these works have participated in more than 20 exhibitions in Europe, with more than 40 publications such as picture albums, books and research papers.