Expression of fear, horror and despair in bacon’s painting: “three etudes for figures at the base of the crucifixion” (1944)

Abstract

The article presents a detailed analysis of one of F. Bacon’s main pictures — “Three Etudes for Figures at the Base of the Crucifixion” (1944), as well as its late variation — “The Second Version of the Triptych 1944” (1988). Author uses the iconological method and shows the specifics of Bacon’s artistic intention that associates with the grotesque depiction of complex existential motifs of fear, horror and despair. Author studies a painting language of Bacon and focuses on the spatial organization of work, color palette, visual solution.Author considers the semantics of the figures and hypothesizes on the anti-narrative nature of this work. Author relies on the books of contemporary art historians (M. Harrison, L. Ficacci, D. Sylvester, J. Russell) and identifies the main sources of inspiration by Bacon’s “Triptych” (“La Coiffure” by E. Degas, “Guernica” and “Anatomy: Three Women” by P. Picasso, “Bathers” P ezanne). At the same time, author emphasizes that Bacon, who inherits the ideas of his predecessors does not stop at imitation, but goes further and creates his own style flamboyant, a “fiery style” that brings him well-deserved fame. The author draws on the assessments of leading art critics (L. Gowing, G. Melville, S. Hunter) and notes that Bacon’s “Triptych” serves as a turning point in the art of the 20th century, because this work accumulates a negative καιρός.The phantasmagoria of the lifeless “ghost world”, “world ruins”, and “world ashes” that Bacon plays in his picture shows the viewer how the world is alienated from man and man is alienated from the world