프란시스 베이컨 회화의 리얼리즘 연구: 이미지의 二重性에 대한 논의를 중심으로

Abstract

The theme of the painting of Francis Bacon is the figure of the humans. However, that figure is torn out and distorted like the body afflicted with the violence, so that its vivid color and tangible feeling of living flesh always attracts the eyes of the viewers, not to mention of the strong sense of horror. Very surprise for that distorted figure is to keep the relation of analogy with the object, which is distant from the representation in the traditional paintings. Nonetheless, those characteristics of the Bacon’s painting once made him to be recognized as a painter just in line with the traditional figurative paintings, or as an expressionist who participated in the suffering of the age and the pain of the existence after the World War II. However, he would reject any analysis about his works and refuse himself to be classified into any category from the critics. So the art-historical study of his painting has been thoroughly performed in the biographical perspective or through the interviews with the painter himself. Among the various scholars of his painting, a common point has been established regarding the coexisting characteristic of two opposite elements, such as figurative vs. non-figurative, or traditional vs. nontraditional. The origin of my thesis is to affirm and enrich this coexisting dualistic characteristic of the Bacon’s painting, now widely admitted in the art-historical field. This is ultimately related to identifying the meaning of what is the‘analogy distant from the representation’in the images of Bacon. He put great emphasis on the responsibility of the contemporary paintings to re-invent the reality through a new way, breaking the representative and illustrative images in the traditional paintings. What is in the world the new way Bacon keeps emphasizing and what is the reality he pursues with his works? In order to answer these questions, thus, my thesis examines not only the major art-historical issues but also the philosophical studies about the Bacon’s painting. This is a new attempt to see the duality and its reality of his painting in a wider perspective, which relatively lacked in the traditional art-historical studies.