Francis Bacon, Triptych - August 1972, 1972

59문장 0% 인도네시아어 번역 0명 참여 출처 : 칸아카데미
0 영상보기
영어 to
인도네시아어
2단 보기 1단 보기
번역 0%

Francis Bacon, Triptych - August 1972, 1972발음듣기

다른 번역문 등록

We're in the Tate Modern and we're looking at a Francis Bacon.발음듣기

다른 번역문 등록

Actually, we're looking at three Francis Bacons.발음듣기

다른 번역문 등록

This is one work of art but in three large painted panels.발음듣기

다른 번역문 등록

It's a triptych.발음듣기

다른 번역문 등록

In fact, that's the title.발음듣기

다른 번역문 등록

Normally when I think of a triptych I think of a renaissance or a medieval alter piece that's in three panels that're connected and therefore something that is spiritual, religious scenes, but here we are in the twentieth century using that format.발음듣기

다른 번역문 등록

But there is something dark and spiritual about these images.발음듣기

다른 번역문 등록

These were deeply personal paintings and the subject couldn't be closer to home for the artist.발음듣기

다른 번역문 등록

You know, you can tell how personal they are.발음듣기

다른 번역문 등록

On either side these figures are very, very powerfully depicted.발음듣기

다른 번역문 등록

That seems very psychological and personal and emotional and profound from the way that he's treating the human body.발음듣기

다른 번역문 등록

Tell me about what the personal aspect is.발음듣기

다른 번역문 등록

So, within these very spare renderings, we have the representation of George Dyer on the left.발음듣기

다른 번역문 등록

This is Francis Bacon's lover who had just recently committed suicide.발음듣기

다른 번역문 등록

In fact this painting is seen as one of a series of black paintings that are, in a way, a kind of chronicle of his response to this event.발음듣기

다른 번역문 등록

We have the artist himself as a self portrait and then in the middle we've got this composite creature.발음듣기

다른 번역문 등록

You can just make out two bodies in a kind of violent lovemaking.발음듣기

다른 번역문 등록

The reference that's usually drawn by art historians is to the English photographer Muybridge who invented the strobe light and was the first person to use photography to freeze animals and people in action.발음듣기

다른 번역문 등록

He did a famous series of wrestlers from which this is drawn.발음듣기

다른 번역문 등록

But of course that scientific context is completely transformed in this personal context.발음듣기

다른 번역문 등록

In the image of Dyer there is an immediate sense of death.발음듣기

다른 번역문 등록

There's an immediate sense of the flesh disintegrating.발음듣기

다른 번역문 등록

With Bacon there's a feeling of the flesh melting or being eaten away.발음듣기

다른 번역문 등록

In fact, in his torso that blackness that's that panel in the back seems to kind of move forward and take over this figure's body.발음듣기

다른 번역문 등록

And at the same time there's something very transcendent about the face.발음듣기

다른 번역문 등록

The eyes are closed, the head tilts up slightly as though there's a way that the figure is somehow transcending the body as the body is being consumed.발음듣기

다른 번역문 등록

It's so interesting that you say melting.발음듣기

다른 번역문 등록

We can see that shadow that he seems to cast almost as a kind of a pool of flesh to the lower right in some terrible way.발음듣기

다른 번역문 등록

The pool is pink and flesh color and the body itself is being taken over by this black.발음듣기

다른 번역문 등록

It's also that it seems to have a kind of dimension.발음듣기

다른 번역문 등록

It seems to be literally seeping out of him.발음듣기

다른 번역문 등록

There's a real tension between surface and an illusion of depth to the body.발음듣기

다른 번역문 등록

The depicted space as opposed to the conceptual space.발음듣기

다른 번역문 등록

That alternation becomes a beautiful metaphor.발음듣기

다른 번역문 등록

The entire set of paintings places these figures in a kind of isolation in a very spare, very abstracted space.발음듣기

다른 번역문 등록

He's created this very uncomfortable, very tense kind of relationship.발음듣기

다른 번역문 등록

On the other hand, both panels on either side, although they are flat, they have some sense of dimension by the diagonal line that's in front of either one.발음듣기

다른 번역문 등록

And yet in the central panel which is the most abstract and, in terms of the space, right?발음듣기

다른 번역문 등록

Because we don't have that diagonal line, we can't locate depth at all.발음듣기

다른 번역문 등록

It's almost as though the middle space where those two figures are joined, perhaps where he's rejoined with his lover, in some space beyond the physical, we have the most abstracted space whereas in the two other panels, as you said, there's that conceptual transcendent flat space that's in conflict somehow with the organic, three dimensional shapes of the figures.발음듣기

다른 번역문 등록

But I also read something else into that diagonal on the right and left panels.발음듣기

다른 번역문 등록

Although these are hung on a flat wall these're hinged paintings.발음듣기

다른 번역문 등록

And they actually come out at an angle towards us slightly, referencing that bottom angle.발음듣기

다른 번역문 등록

The way a traditional triptych would unfold.발음듣기

다른 번역문 등록

Yes, exactly.발음듣기

다른 번역문 등록

There's tremendous energy being expended in the brushstrokes.발음듣기

다른 번역문 등록

I see it in the composition and I see it in the tension between the figures.발음듣기

다른 번역문 등록

Sexual or violent or both.발음듣기

다른 번역문 등록

Yeah, you have, in fact, that big broad white brush stroke.발음듣기

다른 번역문 등록

Yeah, that's interesting in another sense because of course Bacon, although he's working in Britain, is very much of the generation of the abstract expressionists.발음듣기

다른 번역문 등록

Bacon, quite distinctly, and very much unlike the Americans, is maintaining the primacy of the figure.발음듣기

다른 번역문 등록

So these are very hard edged, abstract shapes, yet one easily recalls the abstract expressionism.발음듣기

다른 번역문 등록

They're both responding to similar existential issues that have to do with the isolation of the figure, the meaning of the figure.발음듣기

다른 번역문 등록

These paintings are difficult to understand and to read.발음듣기

다른 번역문 등록

They take time to sort of grapple with.발음듣기

다른 번역문 등록

On the other hand, still having the presence of something that one can recognize, especially the human figure, does give us a handle.발음듣기

다른 번역문 등록

There's something really extraordinary about taking the human figure, painting it so beautifully but then attacking it, cutting into it, melting it away, making it so grotesque.발음듣기

다른 번역문 등록

I think that's what makes these paintings so tough.발음듣기

다른 번역문 등록

칸아카데미 더보기더 보기

전체보기
Top