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TO BE AND NOT TO BE
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Francis Bacon (1909-1992), Three Studies for Figures at the Base of a Crucifixion, 1944. Triptych. Oil on board, each 94 x 73.7 cm. Tate Gallery, London.[1]
FRANCIS BACON, TO BE AND NOT TO BE
by Mariano Akerman
1. Introduction – Biography, Artwork: Nature, Themes, Importance
2. Visual Arts – Tradition or Modernization? Comparisons: Similarities and Differences
3. Art History – Artwork in Context and Visual Sources of Inspiration
4. Design – Chance and Accident. Game. Ordered Chaos.
5. Aesthetics – The Grotesque
6. History – Artwork Location in the History of the Grotesque
7. Literature – Verbal Expression. Sources of Inspiration (Classical, English, French and Spanish). No Narrative? The Poetical Dimension: Mystery and Suggestion
8. Psychology – Instinctive Art. The Problematic Self: Conflict and Simulation, Ambivalence and Neurosis, Divided Self. Trauma and Catharsis.[2] Imagination
9. Sociology – Marginality, Isolation, Anomie, Amorality and Violence
10. Philosophy – Pictorial Reality and Its Raison d'Ętre
[1] Image © Tate Gallery. All Rights Reserved – Shown here in low resolution. Informative aims exclusively. Source: Tate Gallery Online: http://www.tate.org.uk/servlet/ViewWork?workid=674&sea rchid=16684 - For a discussion of this image, see http://efimeronte.page.tl/Grotesqueness-in-the-Triptyc h.htm
[2]. Elimination of memories or recollections that disturb the emotional balance of a person. |
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