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Contribution of francis bacon
Brief biography on francis bacon
Francis bacon of studies critical appreciation
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Francis Bacon was a British artist who was highly praised by the public and proclaimed the greatest artist of the 20th century. Though some have criticized him for his vague and harsh imagery, a lot more people have praised his work for its meaning, passion, and his abilities to materialize the good and bad on certain issues by using half-abstract figures and triptychs as his preference. In comparing and contrasting an early piece of his art work such as “Three Studies for Figures at the Base of a Crucifixion”, which was compelling and showed an originality that earned him wide creditability, to a late piece called “Study for the Head of George Dyer”, one can see the evolution of Mr. Bacon as an artist and most importantly as a person emotionally.
Before beginning his art career, Francis Bacon constantly moved around Europe but finally settled in London working in household design. Mr. Bacon had never been taught art by a professional artist or at an art school, but he did dabble in creating some art design during his leisure time using various watercolors . Then one day, Mr. Bacon decided to attend an art showcase featuring Pablo Picassco art pieces, this show would motivate him to start pursuing a career as an artist. Although at first his drawings and paintings did not get much approval from the public, he continued to work on his craft until his first superior work in 1944 titled “Three Studies for Figures at the Base of a Crucifixion.” In this piece, the inspiration he recieved from Pablo Picasso’s abstract figures truly materialized onto the canvas. Through this piece Mr. Bacon gained wide notoriety. By using triptych, a common design element, Mr. Bacon gave the painting a unique visual look and style. In looking at th...
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...sing sorrow as the main theme in his art painting. Lastly, all the attributes that Mr. Bacon used in his art work, helped make him stand out in an era heavily based on abstract art, as being one of the few artists to create extraordinary paintings of figures.
Works Cited
Smith, Roberta. Art& Design: If Paintings Had Voices, Francis Bacon’s Would Shriek. The New York Times, 2009. http://www.nytimes.com/2009/05/22/arts/design/22baco.html
Francis Bacon(1909-1992) Portraits of Anxiety and Alienatio. Arty factory, 2011. http://www.artyfactory.com/art_appreciation/portraiture/bacon/francis_bacon.htm
Art of the 20 Century: Francis Bacon. History of Art.
http://www.all-art.org/art_20th_century/bacon1.html
Sotheby’s to offer Francis Bacon’s study for Head of George Dyer, 1967.The Art Appreciation Foundation. http://www.artknowledgenews.com/Head_of_George_Dyer.html
Based on his declaration, some may think that he was representing all of the people in Virginia. Bacon insisted that his declaration was for the people, but there was not much evidence to prove his claim. The declaration may have suggested the economic and social status of his followers were lower-class by referring to them as “Comonality” (Bacon's Declaration in the Name of the People 30 July 1676). This term could mean that the majority of the people were not
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
“El Draque” or “The Dragon” the Spanish called this English admiral out of fear. Sir Francis Drake was born at Crownsdale, near Tavistock, Devon around the 1540’s. He served, as an apprentice in the Thames Coastal Trade after his father became a preacher at Chatham. He led several expeditions against the Spanish Main as well as an attack against the Spanish city of Cadiz. Drake was the first Englishman to circumnavigate the globe and he helped defeat the Spanish Armada in 1588. He was a successful privateer, a talented navigator and one of the most famous seamen in history.
... close attention to detail. Moreover, his art is the true representation of the Renaissance, a rebirth. Raphael placed emotion into every brushstroke in an attempt to convey the feelings of a painting at that particular point in time. His life was composed of peace and serenity and his craftsmanship was irrefutable. His creativity and absolute mastery of capturing life continues to catch the eyes of both friends and strangers. His art continues to speak.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Sir Francis Drake is known for England's defeat of the Spanish Armada. He was a sea dog and he sailed around the world. Drake was actually the first one to sail around the world since Magellan died in his journey.
...individual human being, worthy of our own unique individual response” (Weschler, p. 21). As we look at these paintings it is easy for us to connect to the subject matter, they all pertain to ethics. The contemplation of life and death, picking the right path for our highest and best good, forgiveness and taking pride in what you are doing. Each day we are faced with moral dilemmas and for the most part people choose to be good and do the best they can. These four paintings allow us to see the intersubjectivity in others as well as in ourselves.
revolutionist at the age of 70. But more than just his political views help in
Bishop’s use of imagism in “One Art” helps the reader to comprehend the ability of the speaker to move on from lost items such as a mother’s watch or loved houses.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
Art is a constantly evolving process. The previous style of work serves as a roadmap for what will follow. As often is the case with any form of growth, there exists a transitional period. Because of this evolution, there are traces of a style’s illustrious history embedded in the adaptive art’s metaphorical DNA. The transition from early to late Renaissance established two styles of art known as Baroque and Rococo. While, on the surface, the Rococo style can appear to be very similar to the work produced by Baroque artists, the two also demonstrate distinct differences in their use of subject and theme, the manner in which they created the art, and how that art was perceived in their time. These factors establish both styles from one another, making them unique.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.