Posted by: glue | March 14, 2009

Triptych Time

Form

Form

Francis Bacon offers another case of the image of wide scope:  a scene (event) from childhood that captures (manifests) one’s disposition (genius, daimon).  What is this relationship between the childhood formation and the adult expression?  Perhaps it is an attunement (Stimmung).

“Of the relatives with whom the Bacon children spent a good deal of time, Bacon’s maternal grandmother was perhaps the  most memorable.   The grace of her country house, Farmleigh, was epitomized by the semicircular bay-windowed spaces that captured the imagination of her young grandson and that he would recast decades later in scenes of violence and disarray.  The  mood of well-being at Farmleigh was disturbed by civil war.

I was in Ireland through the Sinn Fein… very curious effect, especially since my parents were the enemy.  My father warned us that at any time, not that we would be shot, but at night someone might break in or whatever… At that time my grandmother was married to the head of police in Kildare and in their house all the windows were sandbagged.”

Hugh Davies and Sally Yard, Francis Bacon, Abbeville Press.

Living in the sandbagged window

Living in the sandbagged window

Triptychs‘, said Bacon in 1979, ‘are the thing I like doing most, and I think this may be related to the thought I’ve sometimes had of making a film. I like the juxtaposition of the images separated on three different canvases. So far as my work has any quality, I often feel perhaps it is the triptychs have the most quality.’

Bacon on Location

Bacon on Location

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