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Oil on canvas

(“以我自己的方式，我拼命地跟着我的直觉到处走”)

For me, realism is an attempt to capture the appearance with the cluster of sensations that the appearance arouses in me. As for my latest triptych and a few other canvases painted after I re-read Aeschylus, I tried to create images of the sensations that some of the episodes created inside me.

I could not paint Agamemnon, Clytemnestra or Cassandra, as that would have been merely another kind of historical painting when all is said and done. Therefore, I tried to create an image of the effect that was produced inside me. Perhaps realism is always subjective when it is most profoundly expressed. When I look at grass, sometimes I feel like pulling out a clump and transplanting it inside a frame, but of course that would not “work”, and we are rightly forced to invent methods by which reality can force itself upon our nervous system in a new way, yet without losing sight of the model’s objectivity.

Francis Bacon, letter to Michel Leiris, 20 November 1981

Francis Bacon

1952, Lucian Freud

致力于恐怖的表达

弗兰西斯·培根 

FRANCIS BACON

1909-1992年

绘画可以将非常强烈的情感传达出来……但它传达的也可能是很可怕的东西!来看看这位艺术家的作品，你就会觉得我说的是对的。他的名字是弗兰西斯·培根，他是一个一生致力于创作恐怖画的艺术家。

想象一下这个场景:1945年4月，伦敦，第二次世界大战即将结束，空气中弥漫着一种乐观向上的气息，在勒费弗画廊里，有一个人站在一位年轻的不知名画家的画作前，瞪大了双眼。看看《三张十字架底下人物的素描》这幅画:三具畸形的身体扭曲着。左边是一个像人类的怪物，它的肩膀宽厚弯曲;中间的怪物眼睛上蒙有一根布条，长脖子的末端有一张咬牙切齿的嘴;最后第三幅更怪异，是由人的残肢断节构成的–张开的下颌、残留的一只耳朵、露出来的肋骨。

培根一生都在创作让人感觉悲痛欲绝和恐惧的画面，比如，在讥笑的诡异的头颅、被碎成四块的动物尸体、残缺的尸块。他出生在爱尔兰的一个富裕家庭，从小就孤僻，身体羸弱。他的父亲认为他是一个一无是处的人，经常责备他，16岁时他被赶出了家门。培根先是去了伦敦，然后是柏林、巴黎，在那里他看到了毕加索的作品，于是开始了他的艺术生涯。他和他的保姆一直生活在伦敦。那是一段艰难的生活。后来培根的男朋友乔治·戴尔自杀，戴尔去世是培根一生中最大的打击，他内心极度痛苦，陷入了深深的绝望。而这些痛苦、绝望、恐惧都变成了他绘画的元素，变成了一幅幅令人痛苦、感到恐惧的杰作。