Critics usually agree that seeing a painting by Francis Bacon (1909 - 1992) is, to a greater or lesser degree, an aesthetically painful experience. While this might be said of many works of art created in the 20th century, in the case of Bacon, this painfulness can surely be understood in a very specific sense. In the course of this essay, I shall focus on one of Bacon's earlier works, his 1953 painting "Study after Velázquez's Portrait of Pope Innocent X." I will try to analyze in which way the picture achieves its disturbing effect and in how far this effect lies at the very center of the 'meaning' of Bacon's painting.
Inhaltsverzeichnis (Table of Contents)
- Francis Bacon's "Study after Velázquez's Portrait of Pope Innocent X."
- The Relationship between Bacon and Velázquez
- The "Study" as a Reinvention of Velázquez's "Portrait"
- The Theological Dimension of Bacon's "Study"
- Aesthetic Negativity in Bacon's "Study"
- Bacon's Regret
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay aims to explore the disturbing effect of Francis Bacon's 1953 painting "Study after Velázquez's Portrait of Pope Innocent X." and analyze how this effect contributes to the painting's meaning. The essay examines Bacon's relationship with Velázquez, specifically his admiration for the Spanish baroque painter's "Portrait of Pope Innocent X." The analysis focuses on the formal and thematic reinterpretations Bacon makes in his "Study," highlighting the differences between the two paintings and their respective implications.
- Bacon's admiration for Velázquez and his "Portrait of Pope Innocent X."
- The "Study" as a formal and thematic reinvention of Velázquez's "Portrait."
- The theological dimension of Bacon's "Study" and its shift from religious dogmatism to nihilism.
- The aesthetic negativity of Bacon's "Study" and its representation of "nothingness."
- Bacon's later regret about his attempt to reinvent Velázquez's "Portrait."
Zusammenfassung der Kapitel (Chapter Summaries)
The essay begins by establishing Bacon's admiration for Velázquez and his "Portrait of Pope Innocent X," which is evident in his earlier works. It then explores the "Study" as a reinvention of Velázquez's "Portrait," highlighting the formal and thematic differences between the two paintings. The essay examines the theological dimension of Bacon's "Study," arguing that it implies a shift from religious dogmatism to nihilism. It further analyzes the aesthetic negativity of the painting, suggesting that it represents "nothingness" visually. Finally, the essay discusses Bacon's later regret about his attempt to reinvent Velázquez's "Portrait," questioning whether it undermines the significance of his own work.
Schlüsselwörter (Keywords)
The main keywords and focus topics of the text include Francis Bacon, Diego Velázquez, "Portrait of Pope Innocent X," "Study after Velázquez's Portrait of Pope Innocent X," reinvention, theological dimension, nihilism, aesthetic negativity, and the concept of "nothingness."
- Quote paper
- M.A. Björn David Herzig (Author), 2002, Francis Bacon's "Study after Velázquez's Portrait of Pope Innocent X.", Munich, GRIN Verlag, https://www.grin.com/document/141822
