Embodiment as Sacrament

Francis Baconʹs Postwar Horror

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

The power of Francis Bacon’s (1909–1992) art lies, in part, in the contradictory range of responses that it evokes. Some viewers experience his paintings as energetic and uplifting; others react to the despondent and annihilating qualities of Bacon’s oeuvre. This polarization of expression is encapsulated in an oxymoron that Bacon coined: “exhilarated sense of despair.”² Unpacking this phrase further we see that the extremes need not only be viewed as contradictory but also as part of his sensibility. The despair may characterize Bacon’s observation of his historical environment.
Original languageEnglish
Title of host publicationReVisioning
Subtitle of host publicationCritical Methods of Seeing Christianity in the History of Art
EditorsJames Romaine, Linda Stratford
Place of PublicationOregon
PublisherCASCADE
Pages311-322
Number of pages11
ISBN (Print)9781620320846
Publication statusPublished - 2013
Externally publishedYes

Fingerprint

Despair
Contradictory
Francis Bacon
Embodiment
Sacrament
Viewer
Sensibility
Oxymoron
Polarization
Art
Energetics

Cite this

Arya, R. (2013). Embodiment as Sacrament: Francis Baconʹs Postwar Horror. In J. Romaine, & L. Stratford (Eds.), ReVisioning: Critical Methods of Seeing Christianity in the History of Art (pp. 311-322). Oregon: CASCADE.
Arya, Rina. / Embodiment as Sacrament : Francis Baconʹs Postwar Horror. ReVisioning: Critical Methods of Seeing Christianity in the History of Art. editor / James Romaine ; Linda Stratford. Oregon : CASCADE, 2013. pp. 311-322
@inbook{a56e7100121846f7892c9641d2a5212f,
title = "Embodiment as Sacrament: Francis Baconʹs Postwar Horror",
abstract = "The power of Francis Bacon’s (1909–1992) art lies, in part, in the contradictory range of responses that it evokes. Some viewers experience his paintings as energetic and uplifting; others react to the despondent and annihilating qualities of Bacon’s oeuvre. This polarization of expression is encapsulated in an oxymoron that Bacon coined: “exhilarated sense of despair.”² Unpacking this phrase further we see that the extremes need not only be viewed as contradictory but also as part of his sensibility. The despair may characterize Bacon’s observation of his historical environment.",
author = "Rina Arya",
year = "2013",
language = "English",
isbn = "9781620320846",
pages = "311--322",
editor = "James Romaine and Linda Stratford",
booktitle = "ReVisioning",
publisher = "CASCADE",

}

Arya, R 2013, Embodiment as Sacrament: Francis Baconʹs Postwar Horror. in J Romaine & L Stratford (eds), ReVisioning: Critical Methods of Seeing Christianity in the History of Art. CASCADE, Oregon, pp. 311-322.

Embodiment as Sacrament : Francis Baconʹs Postwar Horror. / Arya, Rina.

ReVisioning: Critical Methods of Seeing Christianity in the History of Art. ed. / James Romaine; Linda Stratford. Oregon : CASCADE, 2013. p. 311-322.

Research output: Chapter in Book/Report/Conference proceedingChapter

TY - CHAP

T1 - Embodiment as Sacrament

T2 - Francis Baconʹs Postwar Horror

AU - Arya, Rina

PY - 2013

Y1 - 2013

N2 - The power of Francis Bacon’s (1909–1992) art lies, in part, in the contradictory range of responses that it evokes. Some viewers experience his paintings as energetic and uplifting; others react to the despondent and annihilating qualities of Bacon’s oeuvre. This polarization of expression is encapsulated in an oxymoron that Bacon coined: “exhilarated sense of despair.”² Unpacking this phrase further we see that the extremes need not only be viewed as contradictory but also as part of his sensibility. The despair may characterize Bacon’s observation of his historical environment.

AB - The power of Francis Bacon’s (1909–1992) art lies, in part, in the contradictory range of responses that it evokes. Some viewers experience his paintings as energetic and uplifting; others react to the despondent and annihilating qualities of Bacon’s oeuvre. This polarization of expression is encapsulated in an oxymoron that Bacon coined: “exhilarated sense of despair.”² Unpacking this phrase further we see that the extremes need not only be viewed as contradictory but also as part of his sensibility. The despair may characterize Bacon’s observation of his historical environment.

UR - https://wipfandstock.com/revisioning.html

UR - https://www.jstor.org/stable/j.ctt1cgdwzn

M3 - Chapter

SN - 9781620320846

SP - 311

EP - 322

BT - ReVisioning

A2 - Romaine, James

A2 - Stratford, Linda

PB - CASCADE

CY - Oregon

ER -

Arya R. Embodiment as Sacrament: Francis Baconʹs Postwar Horror. In Romaine J, Stratford L, editors, ReVisioning: Critical Methods of Seeing Christianity in the History of Art. Oregon: CASCADE. 2013. p. 311-322