Word: crucifixions
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
GUGGENHEIM-Fifth Ave. at 89th St. More than 60 oils by Francis Bacon, the myopic English master of howling, human agony. Yammering popes, chittering baboons, keening sides of beef hang alongside the terrifying visceral Three Studies for a Crucifixion. Through...
...subjects are uneasily seated atop a dais, sprawled in frank nakedness on a couch, wrestling through homosexual positions on a podium. In last year's Three Studies for a Crucifixion, a motif he has been studying since 1931, Bacon painted a triptych more than 14 ft. wide with enigmatic figures and bony carcasses looming in red oval rooms. The central panel contains a kneaded corpse lying in bed amidst a welter of congealed gore. There is no more overt Christian symbolism than that every man can find himself martyred meaninglessly. And the source of Bacon's idea...
...called California his home since 1936, but has taught at Yale and the Art Students' League of New York, as well as UCLA. He has given major exhibits in New York, Boston, Chicago, Los Angeles, and Toronto. He has won greatest acclaim for a series of paintings on "The Crucifixion...
...violent throes of political unification came late to Italy: only a century ago, musketry crackled across the gentle countryside depicted in Renaissance landscapes, and pictures of red-shirted Risorgimento Leader Garibaldi hung beside Crucifixion scenes on many an Italian's wall. During this era of foment, a group of Tuscan artists banded together at the Cafe Michelangelo in Florence to protest the Florentine Academy's insistence upon slick studio painting that absented itself from what was going on. These artists became known as the macchiaioli, who painted with splashes, macchie, of color...
...tyrannical fathers. Under the influence of European liberalism, they rebelled and deserted family business for the law or the arts. They were even determined to look as little as possible like their hearty fathers. They cultivated ill health and the appearance, writes Freyre, of the "conventional Jesus of the Crucifixion." It became the fashion to die young. "To die old was for the bourgeoisie, for the rich planters, for the obese vicars, for the favorite plantation slaves. 'Geniuses' died young and, if possible, of tuberculosis...