Photo © FDM, 2019.
Centre Pompidou, Paris
From 11 september 2019 to 20 january 2020
During a full month yet, the Francis Bacon exhibition at the Center Pompidou offers an immersion in the colorful works and large triptychs painter of the flesh of the body, meat and scholars magmas pictorial.
And that is no mistake : the two exhibition views that "frame" this paper have no other purpose than to dazzle you - by contrast - when you discover the wealth plastic (and color) of exposure.
The bias (assumed) Didier Ottinger (curator), namely the discovery of possible literary influences ( "Bacon IN WORDS") has - finally - the effect (if intended) that to make clear that Bacon is not a history painter or illustrator of fairy tales for adults.
Bacon's painting is not a "literary" painting or illustrative. It has continued to repeat it in most of his interviews. As for his readings, they were brewed (like all "influences" which will inevitably multiply in the life of an artist "cultivated", as was Francis Bacon) thousand and one ways to join this humus and this documentary watered soil that his work of a polymorphic cultural food.
Who will tell the delicate - oh how difficult - question of influences ? The "Achilles heel" - not in this exhibition (which remains - by its breadth and quality twelve large triptychs and a large amount of works mistresses - a wonderful exhibition) - but that's about the underlying is to have significantly restricts and reduces the immense field of possible influences. - Bacon ate everything, absolutely everything. So why would reduce the extreme variety of its cultural power a few books, a few names and literary figures or criticism ?
The very titles of the works were sometimes drawn not by Bacon, but his gallery. - Historians, critics and curators of exhibitions, we often do too much. - This means that quite works here "is enough." Their mere contemplation takes us far beyond the "letters", words from which we see pretend arise. The film projection of Francis Bacon talks that closes the exhibition is rich in lessons, just restore the situation. It is more then just re-exposure to the upside, armed this time glasses properly "Baconian".
What's it all about ? Paint. Organ, fragments, body, disjoint figures. On the one frame and generally clear spatial composition and burr (circles, squares, doorways, angles, etc.), which has the counterpoint the flesh material, the uncluttered postures and to these materials and objects perceived as avatars existential : a fountain, sink, sink, multiple sets of shadows, the wake left by a passing car.
The human is one such mobile which - from metamorphosis to metamorphosis - although joins the fantasy of the Furies or clubfoot Oedipus. But this is as good a boxer or the bad boy of a London suburb. Who will tell the labyrinthine paths of all these impressions on the work of Francis Bacon ?
The views of the work can only be plural, multiple, moving. Like this look life painter who constantly moved, the contours or absence of contours of beings and places that he crosses.
And that is no mistake : the two exhibition views that "frame" this paper have no other purpose than to dazzle you - by contrast - when you discover the wealth plastic (and color) of exposure.
The bias (assumed) Didier Ottinger (curator), namely the discovery of possible literary influences ( "Bacon IN WORDS") has - finally - the effect (if intended) that to make clear that Bacon is not a history painter or illustrator of fairy tales for adults.
Bacon's painting is not a "literary" painting or illustrative. It has continued to repeat it in most of his interviews. As for his readings, they were brewed (like all "influences" which will inevitably multiply in the life of an artist "cultivated", as was Francis Bacon) thousand and one ways to join this humus and this documentary watered soil that his work of a polymorphic cultural food.
Who will tell the delicate - oh how difficult - question of influences ? The "Achilles heel" - not in this exhibition (which remains - by its breadth and quality twelve large triptychs and a large amount of works mistresses - a wonderful exhibition) - but that's about the underlying is to have significantly restricts and reduces the immense field of possible influences. - Bacon ate everything, absolutely everything. So why would reduce the extreme variety of its cultural power a few books, a few names and literary figures or criticism ?
The very titles of the works were sometimes drawn not by Bacon, but his gallery. - Historians, critics and curators of exhibitions, we often do too much. - This means that quite works here "is enough." Their mere contemplation takes us far beyond the "letters", words from which we see pretend arise. The film projection of Francis Bacon talks that closes the exhibition is rich in lessons, just restore the situation. It is more then just re-exposure to the upside, armed this time glasses properly "Baconian".
What's it all about ? Paint. Organ, fragments, body, disjoint figures. On the one frame and generally clear spatial composition and burr (circles, squares, doorways, angles, etc.), which has the counterpoint the flesh material, the uncluttered postures and to these materials and objects perceived as avatars existential : a fountain, sink, sink, multiple sets of shadows, the wake left by a passing car.
The human is one such mobile which - from metamorphosis to metamorphosis - although joins the fantasy of the Furies or clubfoot Oedipus. But this is as good a boxer or the bad boy of a London suburb. Who will tell the labyrinthine paths of all these impressions on the work of Francis Bacon ?
The views of the work can only be plural, multiple, moving. Like this look life painter who constantly moved, the contours or absence of contours of beings and places that he crosses.
The Exhibition
Just published : BACON ARTAUD VINCI
Photo © FDM, 2019.
