지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The theme of the painting of Francis Bacon is the figure of the humans. However, that figure is torn out and distorted like the body afflicted with the violence, so that its vivid color and tangible feeling of living flesh always attracts the eyes of the viewers, not to mention of the strong sense of horror. Very surprise for that distorted figure is to keep the relation of analogy with the object, which is distant from the representation in the traditional paintings.
Nonetheless, those characteristics of the Bacon’s painting once made him to be recognized as a painter just in line with the traditional figurative paintings, or as an expressionist who participated in the suffering of the age and the pain of the existence after the World War II. However, he would reject any analysis about his works and refuse himself to be classified into any category from the critics. So the art-historical study of his painting has been thoroughly performed in the biographical perspective or through the interviews with the painter himself. Among the various scholars of his painting, a common point has been established regarding the coexisting characteristic of two opposite elements, such as figurative vs. non-figurative, or traditional vs. nontraditional.
The origin of my thesis is to affirm and enrich this coexisting dualistic characteristic of the Bacon’s painting, now widely admitted in the art-historical field. This is ultimately related to identifying the meaning of what is the‘analogy distant from the representation’in the images of Bacon. He put great emphasis on the responsibility of the contemporary paintings to re-invent the reality through a new way, breaking the representative and illustrative images in the traditional paintings. What is in the world the new way Bacon keeps emphasizing and what is the reality he pursues with his works?
In order to answer these questions, thus, my thesis examines not only the major art-historical issues but also the philosophical studies about the Bacon’s painting. This is a new attempt to see the duality and its reality of his painting in a wider perspective, which relatively lacked in the traditional art-historical studies.
Nonetheless, those characteristics of the Bacon’s painting once made him to be recognized as a painter just in line with the traditional figurative paintings, or as an expressionist who participated in the suffering of the age and the pain of the existence after the World War II. However, he would reject any analysis about his works and refuse himself to be classified into any category from the critics. So the art-historical study of his painting has been thoroughly performed in the biographical perspective or through the interviews with the painter himself. Among the various scholars of his painting, a common point has been established regarding the coexisting characteristic of two opposite elements, such as figurative vs. non-figurative, or traditional vs. nontraditional.
The origin of my thesis is to affirm and enrich this coexisting dualistic characteristic of the Bacon’s painting, now widely admitted in the art-historical field. This is ultimately related to identifying the meaning of what is the‘analogy distant from the representation’in the images of Bacon. He put great emphasis on the responsibility of the contemporary paintings to re-invent the reality through a new way, breaking the representative and illustrative images in the traditional paintings. What is in the world the new way Bacon keeps emphasizing and what is the reality he pursues with his works?
In order to answer these questions, thus, my thesis examines not only the major art-historical issues but also the philosophical studies about the Bacon’s painting. This is a new attempt to see the duality and its reality of his painting in a wider perspective, which relatively lacked in the traditional art-historical studies.
목차
Ⅰ. 머리말
Ⅱ. 베이컨의 리얼리즘 탐구
Ⅲ. 베이컨 회화의 제작 방식과 특징
Ⅳ. 리얼리티의 새로운 패러다임: 들뢰즈의 시뮬라크르(simulacre) 개념과의 연관성
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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