著者

桝田 倫広

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.97-108, 2010-06-30 (Released:2017-05-22)

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Francis Bacon (1909-1992) executed many portraits based on Velazquez's "Pope Innocent X" (1650) in mainly 1950's. In his paintings, "Study after Velazquez's Portrait of Innocent X" (1953) is considered one of Bacon's representative works. Contrast to Velazquez's Pope, Bacon's Pope is like disappearing with white streaks, and his mouth is opened like screaming. This painting has been ever defined as iconoclastic work; deconstruction of the symbolic father, "Pope," Bacon's real father and Velazquez as "peintre des peintres". But did Bacon only aim at denying and distracting "father" image through his executing paintings? Can we conclude his painting just as iconoclastic? In this paper, author focuses on his specific marks in his 1953's "Pope" painting; white streaks, "paint," and opening mouth of the figure. These two factors have been ever defined as assaulting the figure. But author suggests the other aspect of these. Then this paper concludes that Bacon's "Pope" is the monumental work as not only the iconoclasm but as the accomplishment for Bacon in terms of the way to represent.

著者

桝田 倫広

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, 2009-12-31

著者

桝田 倫広

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.65, no.1, pp.146, 2014-06-30 (Released:2017-05-22)

著者

桝田 倫広

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.60, no.2, pp.158, 2009-12-31 (Released:2017-05-22)