MARC Record from Harvard University

LEADER: 03246pam a2200349 a 4500
005 20020606104010.5
008 960812s1996 gw a bq 001 0deng
001 990077323140203941
010 $a^^^96036189^
020 $a3791316648 (alk. paper)$0(uri) http://www.isbnsearch.org/isbn/3791316648
035 $a(MH)007732314HVD01-Aleph
035 $a(OCoLC)35280662$0(uri) http://www.worldcat.org/oclc/35280662
040 $aDLC$cDLC$dDLC$dMH-FA
041 1 $aeng$hger
050 00 $aND497.B16$bS3413 1996
082 00 $a759.2$220
100 1 $aSchmied, Wieland,$d1929-
240 10 $aFrancis Bacon.$lEnglish
245 10 $aFrancis Bacon :$bcommitment and conflict /$cWieland Schmied ; [translated from the German by John Ormrod].
260 $aMunich ;$aNew York :$bPrestel,$cc1996.
300 $a200 p. :$bill. (some col.) ;$c32 cm.
504 $aIncludes bibliographical references (p. 192-196) and index.
504 $aIncludes a filmography (p. 197).
520 $aSeveral years after his death, Francis Bacon's place in the pantheon of twentieth-century art seems more assured than ever. The violent intensity with which Bacon's paintings give expression to the existential angst of his fellow human beings is virtually without parallel in the history of art. The work of this self-styled maverick continues to be profoundly disturbing and to resist classification in conventional categories.
520 8 $aDrawing on a lifetime's experience of studying twentieth-century art, and on his personal encounters with the artist, Wieland Schmied presents a comprehensive portrait of Bacon the painter. Bacon the man is by no means overlooked, but Schmied does not allow details of the artist's private life to deflect him from his central purpose: to distil the essence of Bacon's art from a formal analysis of his paintings and from an examination of the creative processes they embody. Bacon's subtle use of space, the fundamental significance of photography in the development of his imagery, his idiosyncratic painting technique, his place in twentieth-century art as a whole, the role of homosexuality and the other autobiographical dimensions to his oeuvre - searching discussion of all these aspects results in a refreshingly independent view of a major artist.
505 0 $aProductive disgust -- The experience of space -- Plates I -- The role of photography -- From the crucifixion to the 'black' triptychs -- The painting process and its goal -- An age of violence -- Plates II.
600 10 $aBacon, Francis,$d1909-1992$xCriticism and interpretation.$0(uri) http://id.loc.gov/authorities/names/n79139544$0(uri) http://viaf.org/viaf/sourceID/LC|n79139544
655 7 $aCriticism, interpretation, etc.$2fast$0(uri) http://id.worldcat.org/fast/fst01411635
700 1 $aBacon, Francis,$d1909-1992$0(uri) http://id.loc.gov/authorities/names/n79139544$0(uri) http://viaf.org/viaf/sourceID/LC|n79139544
776 08 $iOnline version:$aSchmied, Wieland, 1929-$sFrancis Bacon. English.$tFrancis Bacon.$dMunich ; New York : Prestel, ©1996$w(OCoLC)606100930
852 7 $2ZHCL$bFAL$cGEN$hFA4111.115.104$8222016403320003941
876 $8222016403320003941$q1$77$mGEN$yBOOK$p32044044902179$cGEN$0232016403310003941$h01$nFA4111.115.104$bFAL$lFAL