//
you're reading...

Art

Mmmmmmm … Bacon. Francis Bacon.

Francis Bacon’s Ordered Chaos

Francis Bacon

A middling science-fiction remake is an unlikely venue for high art, and yet Francis Bacon’s paintings are on such prominent display in RoboCop that something is clearly afoot. Indeed, the movie’s production designer has called Francis Bacon’s Triptych inspired by Oresteia of Aeschylus, with its distorted human forms flowing in and out of floating, grid-like spaces, RoboCop’s “underlying visual metaphor” — heady stuff for a movie that at times is indistinguishable from a first-person-shooter video game. Once thought to be very much of its time, Bacon’s art is proving relevant to ours.

Poised somewhere between the sordid and the exalted, the shocking and the comforting, high art and bedsit grit, the late Anglo-Irish artist’s work has been popping up in unexpected places in recent years: It inspired The Joker’s gash-like makeup in Christopher Nolan’s The Dark Knight, the ominous creatures and settings for the Silent Hill video game franchise, and the pristine-yet-bloody aesthetic of Brandon Cronenberg’s near-future science fiction satire, Antiviral. Last fall, in New York, Bacon’s Three Studies of Lucian Freud set a record for an art auction (US$142.4-million), and finally, 22 years after his death, Canada is jumping on the bandwagon: On April 5, Bacon’s first-ever exhibition in this country opened at the Art Gallery of Ontario.

— Story continues at The National Post

Discussion

No comments yet.

Post a Comment