[{"id":198,"date":"2024-03-29T15:56:27","date_gmt":"2024-03-29T15:56:27","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=198"},"modified":"2024-03-29T16:52:45","modified_gmt":"2024-03-29T16:52:45","slug":"image-gallery","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/image-gallery\/","title":{"rendered":"Image Gallery"},"content":{"rendered":"\n
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\"J.S.
J.S. Lewinski, Francis Bacon, 1967, National Portrait Gallery<\/figcaption><\/figure>\n\n\n\n
\"Francis
Francis Bacon, “Second Version of Triptych 1944”,\n1988<\/figcaption><\/figure>\n\n\n\n
\"Francis
Francis Bacon, “Self Portrait”, 1975,<\/figcaption><\/figure>\n\n\n\n
\"Carlo
Carlo Crivelli, Polyptych of Madonna and Child with Saints, 1468<\/figcaption><\/figure>\n\n\n\n
\"Lefevre
Lefevre Gallery, Exhibition Invitation, 1945<\/figcaption><\/figure>\n\n\n\n
\"Ministry
Ministry of Health, If You Are Bombed Out, 1939, lithograph, Imperial War Museum<\/figcaption><\/figure>\n\n\n\n
\"\"
Figure 1. Francis Bacon, Three Studies for Figures at the Base of a Crucifixion c.1944, Oil paint on 3 boards, Tate Britain<\/figcaption><\/figure>\n\n\n\n
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Devastation, 1941: An East End Street 1941 Graham Sutherland OM 1903-1980 Presented by the War Artists Advisory Committee 1946 http:\/\/www.tate.org.uk\/art\/work\/N05736<\/figcaption><\/figure>\n\n\n\n
\"September
September 7th, 1940, Getty Images<\/figcaption><\/figure>\n\n\n\n
\"\"
Tube Shelter Perspective 1941 Henry Moore OM, CH 1898-1986 Presented by the War Artists Advisory Committee 1946 http:\/\/www.tate.org.uk\/art\/work\/N05709<\/figcaption><\/figure>\n\n\n\n
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The Lake c.1930-5 Frances Hodgkins 1869-1947 Presented by the Contemporary Art Society 1940 http:\/\/www.tate.org.uk\/art\/work\/N05130<\/figcaption><\/figure>\n\n\n\n
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Figure 2. Adolphe William Bouguereau, Orestes Pursued by the Furies, Oil on canvas, 1862<\/figcaption><\/figure>\n\n\n\n
\"John
John Deacon, “Francis Bacon”, 1952, Vouge<\/figcaption><\/figure>\n\n\n\n
\"\"
Operations: A German Luftwaffe Heinkel He 111 bomber flying over Wapping and the Isle of Dogs in the East End of London at the start of the Luftwaffe’s evening raids of 7 September 1940.\n\nCopy negative of part of an aerial photograph taken from a German aircraft at 1848 hrs German time.<\/figcaption><\/figure>\n\n\n\n
\"Digital
Digital reconstruction of Taddeo Gaddi\u2019s triptych. Left to right: \u201cAnnunciation and Nativity,\u201d \u201cMadonna and Child Enthroned with Ten Saints: Maest\u00e0,\u201d \u201cCrucifixion\u201d , courtesy the New-York Historical Society <\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-198","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/198","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=198"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/198\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":97,"date":"2024-03-08T05:09:46","date_gmt":"2024-03-08T05:09:46","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=97"},"modified":"2024-04-16T01:51:15","modified_gmt":"2024-04-16T01:51:15","slug":"97-2","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/","title":{"rendered":"Home"},"content":{"rendered":"\n

Agony in Abstraction: Francis Bacon\u2019s Post-War Triptych <\/h2>\n\n\n
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Figure 1. Francis Bacon, Three Studies for Figures at the Base of a Crucifixion c.1944, Oil paint on 3 boards, Tate Britain<\/sub><\/figcaption><\/figure>\n<\/div>\n\n\n

Master\u2019s Capstone Project by Tyler Hirshon submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in Art History. Chair: Dr. Andrew Wasserman., Reader: Dr. Joanne Allen. 2024 ,American University, Washington DC.<\/p>\n\n\n\n

Acknowledgments<\/summary>\n

I would first like to express my thanks and appreciation to my advisor, Dr. Andrew Wasserman, whose support, critique, and insight were instrumental to this project. His instructive comments and suggestions on the structural revisions of my content were crucial in the development of this work. I would also like to thank Dr. Joanne Allen, my second reader, for pushing me to refine my argument and consider alternative perspectives.<\/p>\n\n\n\n

Finally, I thank my family for their encouragement over the past few years. To my parents, brother and grandmothers who constantly supported me throughout this process. I cannot stress enough how grateful that they were able to put up with me during this process. <\/p>\n<\/details>\n\n\n\n

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Agony in Abstraction: Francis Bacon\u2019s Post-War Triptych  Master\u2019s Capstone Project by Tyler Hirshon submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in Art History. Chair: Dr. Andrew Wasserman., Reader: Dr. Joanne Allen. 2024 ,American University, Washington […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-97","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/97","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=97"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/97\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=97"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":81,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=81"},"modified":"2024-04-16T18:15:39","modified_gmt":"2024-04-16T18:15:39","slug":"trauma-theory","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/trauma-theory\/","title":{"rendered":"Trauma Theory"},"content":{"rendered":"\n

Trauma Theory<\/h2>\n\n\n\n

Central to understanding the painting’s impact is trauma theory, which examines how traumatic events are processed, represented, and remembered. In the context of art, it explores how trauma can be communicated visually and how viewers engage with such representations. Cathy Caruth’s work in “Unclaimed Experience: Trauma, Narrative, and History” posits that \u201cIn its most general definition, trauma describes an overwhelming experience of sudden, or catastrophic events, in which the response to the event occurs in the often delayed, and uncontrolled repetitive occurrence of hallucinations and other intrusive phenomena.\u201d [1]<\/a><\/p>\n\n\n\n

Bacon’s painting, then, can be seen as a visual representation of this return, manifesting not direct scenes of wartime violence but the psychological and emotional scars it leaves. Expanding on the idea of trauma theory’s relevance to Francis Bacon’s Three Studies for Figures at the Base of a Crucifixion<\/em> involves delving deeper into how trauma manifests within the painting and interacts with the viewer\u2019s perception and emotional response. Cathy Caruth’s insights into trauma\u2014as something that is experienced both in the moment of its occurrence and repeatedly in the psyche of the survivor\u2014provide a useful lens through which to examine Bacon’s work.<\/p>\n\n\n\n

Bacon’s painting does not depict the literal events of wartime or violence but rather channels the emotional and psychological aftermath of such events. The figures, abstracted and distorted, serve as symbols for the internal experience of trauma. This abstraction mirrors the process by which traumatic memories are often fragmented and disjointed, resisting straightforward narration or representation. The painting, in its refusal to present a coherent or literal narrative, reflects the nature of trauma as something that eludes direct expression, requiring instead a language of symbols, emotions, and bodily sensations. Caruth posits that trauma is unassimilable within the psyche, remaining alien and disruptive to the individual\u2019s sense of self and continuity. In Three Studies for Figures at the Base of a Crucifixion,<\/em> the visceral, almost alien forms of the figures can be seen as externalizations of this internal unassimilability. The figures are trapped in a state of perpetual suffering and distortion, embodying the way traumatic experiences resist integration into one\u2019s life narrative and persist as sources of ongoing distress.<\/p>\n\n\n\n

The way viewers engage with Bacon’s painting also reflects key aspects of trauma theory. The intense, often unsettling emotional response elicited by the work can be seen as a form of re-enactment of trauma’s impact. Just as trauma survivors may relive their experiences through flashbacks or intrusive memories, viewers of the painting are confronted with a visual form that demands an emotional and psychological engagement beyond mere observation. This confrontation can stimulate a process of empathy, reflection, and, potentially, personal confrontation with the viewer’s own memories or unprocessed experiences. Bacon’s choice to render his response to the trauma of war through abstract, deformed figures enable it to transcends<\/del> individual experience, tapping into a broader cultural and historical memory of war and suffering. The painting, through its abstract figures, invites viewers to engage with a profound sense of emotional toil, detached from any specific historical context. By eschewing precise imagery, Bacon’s work taps into a more universal language of emotion, allowing its message of suffering and anguish to resonate widely. This abstraction opens up a space for individual interpretation, where the nuances of emotional experiences\u2014those that are deeply felt but often remain unarticulated\u2014can be explored and understood on a personal level. Rather than anchoring the viewer to the concrete realities of World War II, the painting serves as a canvas for the exploration of emotional truths, making its evocative power accessible to those who confront it.<\/p>\n\n\n\n

Moreover, Caruth’s discussion on the narrative reconstruction of trauma as a means to grapple with its unknowable aspects aligns with Bacon’s approach to painting. Three Studies<\/em> does not offer a straightforward narrative of war but rather presents a visual exploration of its intangible effects. By abstracting the human figure and situating it within an ambiguous, almost apocalyptic landscape, Bacon challenges the viewer to engage with the trauma of war on a visceral level. The painting becomes a space where the unspeakable is given form, inviting contemplation and emotional response beyond the confines of language. In this light, Caruth’s trauma theory illuminates how Bacon’s triptych fulfills the role of art in mediating the experience of trauma. Through Caruth’s lens, Three Studies for Figures at the Base of a Crucifixion<\/em> emerges not just as a reflection on a specific historical event but as a broader meditation on the nature of trauma, memory, through its abstraction and emotional intensity. Offering a powerful visual language for the complexities of trauma, highlighting the role of art as both witness and participant in the ongoing struggle to comprehend and articulate human suffering.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> Cathy Caruth, \u201cUnclaimed Experience: Trauma and the Possibility of History.\u201d Page number<\/ins><\/p>\n\n\n\n

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Trauma Theory Central to understanding the painting’s impact is trauma theory, which examines how traumatic events are processed, represented, and remembered. In the context of art, it explores how trauma can be communicated visually and how viewers engage with such representations. Cathy Caruth’s work in “Unclaimed Experience: Trauma, Narrative, and History” posits that \u201cIn its most […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-81","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/81","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=81"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/81\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=81"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":80,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=80"},"modified":"2024-04-16T18:29:07","modified_gmt":"2024-04-16T18:29:07","slug":"triptych","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/triptych\/","title":{"rendered":"Triptych"},"content":{"rendered":"\n

Triptych<\/h2>\n\n\n\n

The triptych format, traditionally used in religious art, particularly in altar <\/del>pieces, inherently contains a narrative structure due to its three-panel layout: beginning, middle, and end. When Francis Bacon adopted this format for Three Studies for Figures at the Base of a Crucifixion<\/em>, he infused it with a modern, secular, and harrowing context, leveraging the format’s intrinsic storytelling potential to craft a powerful sense of isolation. Each panel hosts a tormented figure, separated from the others. This physical partition enhances the sense of isolation, emphasizing the solitude of each figure in its anguish. Each figure, while displaying visceral emotion and torment, does not interact with the others. They are locked in their individual agonies, further highlighting the emotional and physical isolation inherent in the work. The triptych format in Three Studies for Figures at the Base of a Crucifixion <\/em>is not just stylistic choice; it is a fundamental component of the painting’s narrative and emotional impact. By leveraging the division and structure of the triptych, Bacon masterfully enhances the sense of desolation and isolation that permeates the work.<\/p>\n\n\n\n

Traditional triptychs, particularly those rooted in religious traditions, typically feature central panels that are iconic rather than narrative, with the main focus being on a significant sacred moment or figure, and the side panels often presenting saints or angels that complement the central theme. Narratives, when present, are usually relegated to the predella panels at the base. In this light, Bacon\u2019s Three Studies for Figures at the Base of a Crucifixion<\/em> can be seen as an inversion of this format. The title itself alludes to the figures traditionally found in the predella, suggesting that Bacon is drawing a parallel between these lower panels and his own work. In Bacon’s interpretation, the lack of a clear central focus and the absence of a linear narrative across the panels emphasize the isolation of each figure, reinforcing the feeling that they are caught in their own existential struggle. Rather than presenting a sequence or a shared narrative space, each panel in Bacon’s triptych confronts the viewer independently, creating a disjointed experience that reflects the fragmentation and chaos of the post-war world. The figures’ separation from one another mirrors the isolation of individual trauma, suggesting that each subject is profoundly alone with its suffering. Thus, Bacon’s work can be seen as a modern reimagining of the triptych format, one that reflects the disjointed nature of post-war reality and the individual’s place within it.<\/p>\n\n\n\n

Discussions about Bacon’s art also reveal opposing views on his engagement with traditional religious motifs.\u00a0 In “Francis Bacon: Painting in a Godless World,”[1]<\/a> Rina Arya explores Bacon’s subversion of religious symbolism. Conversely, John Russell, in “Francis Bacon,” suggests that Bacon’s engagement with religious themes underscores his continuity with art history. [2]<\/a>\u00a0\u00a0 Arya has defined Bacon\u2019s work as an expressing of the “primal cry of horror” that is at the heart of human existence in her writing \u201cThe Primal Cry of Horror: The A-theology of Francis Bacon.\u201d<\/p>\n\n\n\n

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Matthias Gr\u00fcnewald, Isenheim Altarpiece<\/em>, c 1512-1516. (Figure 8)<\/figcaption><\/figure>\n\n\n\n

In the canon of religious art, the Crucifixion scene has always held a place of central importance, with the figures at the base typically serving as complementary to the primary event of Christ’s sacrifice. These secondary figures are often depicted in a manner that reinforces the main narrative, their grief and anguish contextualizing the enormity of the crucifixion. Bacon’s engagement with this convention is both direct and subversive. By elevating the figures at the base to the forefront, he challenges the viewer’s expectations and redirects the focus from the divine to the intensely human. In Three Studies for Figures at the Base of a Crucifixion<\/em>, Bacon’s figures are not just prominent; they are overwhelming, almost confrontational in their presence. This deliberate shift in scale and focus can be seen as a modern inversion of traditional religious themes. Bacon’s interpretation places the emphasis squarely on the mortal experience \u2014 the visceral, the corporeal, and the existential. The figures’ exaggerated forms and raw emotionality take center stage, compelling the viewer to confront the suffering of the subjects instead of any divine intervention or narrative resolution. This inversion can also be read as a commentary on the human capacity for suffering and the search for meaning in the post-war era. Bacon’s choice to foreground the figures at the base of the crucifixion, traditionally seen as witnesses or mourners, elevates their experiences and, by extension, the human experience, to the level of the sacred event itself. In doing so, Bacon seems to suggest that the suffering felt in the waning years of World War II hold a significance that demands attention and reflection, much like the religious scenes from which he draws inspiration.<\/p>\n\n\n\n

<\/p>\n\n\n\n

The handling of space within the painting and its effect on the viewer’s perception further intertwines with the mythological themes introduced by the Furies. The compressed, almost claustrophobic space that holds these towering figures creates a palpable tension between the viewer and the viewed, mirroring the inescapable confrontation with the forces of fate and justice that the Furies represent. This spatial dynamic forces the viewer into a position of detached witness, highlighting the isolation and despair of the figures while also reflecting on the immensity of the themes being tackled. The enormity of the figures, threatening to burst from the canvas, serves as a visual metaphor for the overwhelming nature of the subjects at hand\u2014justice, trauma, and the human capacity for both cruelty and redemption. Thus, the inclusion of the Furies as a thematic and symbolic element in “Three Studies for Figures at the Base of a Crucifixion” creates a rich tapestry of meaning that bridges mythological and contemporary discourses. The spatial dynamics of the painting reinforce this connection, emphasizing the scale and intensity of the themes Bacon seeks to explore. Together, these elements forge a work that is both a reflection on the specific socio-political conditions of its time and a meditation on the fundamental aspects of suffering.<\/p>\n\n\n\n

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[1]<\/a> Rina Arya. Francis Bacon Painting in a Godless World<\/em>. Lund Humphries, 2012.<\/ins><\/p>\n\n\n\n

[2]<\/a> John Russell, and Francis Bacon. Francis Bacon<\/em>. Oxford University Press, 1971.<\/p>\n\n\n\n

[3]<\/a> David Sylvester, Interiews with Francis Bacon, <\/em>112<\/p>\n\n\n\n

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Triptych The triptych format, traditionally used in religious art, particularly in altar pieces, inherently contains a narrative structure due to its three-panel layout: beginning, middle, and end. When Francis Bacon adopted this format for Three Studies for Figures at the Base of a Crucifixion, he infused it with a modern, secular, and harrowing context, leveraging the […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-80","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/80","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=80"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/80\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=80"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":79,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=79"},"modified":"2024-04-16T01:47:42","modified_gmt":"2024-04-16T01:47:42","slug":"the-triptych-trauma","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/the-triptych-trauma\/","title":{"rendered":"The Triptych & Trauma"},"content":{"rendered":"\n

The Triptych & Trauma <\/h2>\n\n\n\n
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Triptych Format<\/font><\/figcaption><\/figure>\n\n\n\n
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Trauma Theory<\/font><\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

The Triptych & Trauma<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-79","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/79","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=79"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/79\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=79"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":78,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=78"},"modified":"2024-04-16T01:53:59","modified_gmt":"2024-04-16T01:53:59","slug":"the-lefevre-gallery","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/the-lefevre-gallery\/","title":{"rendered":"The Lefevre Gallery"},"content":{"rendered":"\n

The Lefevre Gallery<\/h2>\n\n\n\n

Three Studies<\/em> for Figures at the Base of a Crucifixion<\/em> made its debut in 1945 at the Lefevre Gallery in London. Bacon’s relationship with the gallery was symbiotic. While it provided him with a platform and the affirmation he critically needed, his work added a raw, visceral dimension to the gallery\u2019s repertoire. The sensational debut of his triptych at the Lefevre Gallery marked the beginning of a new chapter in his career. The gallery’s support propelled him from a state of professional limbo into the spotlight.<\/p>\n\n\n\n

In the interwar period leading up to the 1940s, the Lefevre Gallery had firmly established itself as an epicenter of the London art scene. Known for its progressive stance, the gallery curated shows that often challenged the status quo, favoring innovative and avant-garde art. It provided an essential platform for British artists influenced by international modernist currents, showcasing works that might have been deemed controversial or too audacious for more conservative galleries. The Lefevre Gallery\u2019s roster from 1920 to 1945 read like a ‘who\u2019s who’ of modern art, featuring artists such as Pablo Picasso, Salvador Dali, Henri Matisse, Georges Braque, Degas and Amedeo Modigliani, alongside British artists like Matthew Smith, Paul Nash, Henry Moore, Graham Sutherland and Ben Nicholson[1]<\/a>. The gallery’s exhibitions were not merely displays of individual talent but also signifiers of a burgeoning shift in the artistic narrative of the time\u2014a shift toward embracing a more expressive, less representational form of visual language that could capture the complexities of the era.<\/p>\n\n\n\n

As Britain was grappling with its identity amidst global conflict, the Lefevre Gallery stood as a bastion of progressive art, fostering a dialogue between the British public and the challenging perspectives of contemporary artists. The Lefevre Gallery’s significance in the wider artistic milieu of the time was underscored by its commitment to showcasing artists who were unafraid to confront and question through their art. In doing so, it provided a counterpoint to the prevailing trends of wartime art commissioned by bodies like the War Artists’ Advisory Committee, which focused on documenting the conflict and bolstering national morale through more representational works. During the early stages of the war, the Lefevre Gallery had curtailed its operations, opening only around two days a week. Additionally, its valuable collections were prudently relocated to the safety of the Mendip Hills. This decision proved fortuitous when, in spring 1943, the gallery’s longstanding location in King Street was obliterated during a German bombing raid [2]<\/a>. Despite these challenges, by the time of Bacon’s display, the gallery was actively showcasing the works of prominent artists like Graham Sutherland, Frances Hodgkins, Henry Moore, and Matthew Smith (image 6). At the initial display of Bacon\u2019s triptych in 1945, he was shown amongst the aforementioned artists, who were all working through life in the immediate aftermath of World War II through their art. The Lefevre Gallery, therefore, was not just a showcase for art; it was a catalyst for the evolving perception of art’s role in society. By aligning itself with artists like Bacon, who were pushing the boundaries of expression, the gallery played a crucial part in the post-war renaissance of British art, moving it towards a more introspective, psychologically profound direction that would shape the cultural landscape for years to come.<\/p>\n\n\n

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\"Lefevre
Figure 5. Lefevre Gallery, Exhibition Invitation, 1945<\/figcaption><\/figure>\n<\/div>\n\n\n

Graham Sutherland  was an official war artist during World War II, appointed by the British government. Along with other artists, Sutherland was tasked with portraying various aspects of the home front. Some of Sutherland’s most notable works from this period include depictions of bomb-damaged buildings and the resulting landscapes of devastation in London. Sutherland’s work often retains a semblance of the recognizably real world, distorted but still comprehensible.These paintings captured the physical scars of the war and, through Sutherland’s unique style, conveyed the emotional and psychological weight of the conflict.<\/p>\n\n\n

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Figure 6. Graham Sutherland, Devastation, 1941: An East End Street<\/em> Presented by the War Artists Advisory Committee 1946, Tate<\/figcaption><\/figure>\n<\/div>\n\n\n

Henry Moore was another artist displayed with Bacon. Arguably the most iconic of Moore’s works during World War II are his “shelter drawings.”(Figure 5) During the Blitz, when German air raids terrorized London, many of the city’s residents took refuge in the Underground stations. Moore, moved by these scenes of Londoners huddled together, began to create a series of sketches and drawings that captured the shared humanity, vulnerability, and resilience of the people. His depictions weren’t just objective recordings but were imbued with an emotional intensity that brought out the poignancy of the moment. Henry Moore’s wartime drawings resonated with a somber realism. They captured the vulnerability of the human form against the backdrop of war. His figures often retain a sculptural, monumental quality, embodying a collective fortitude. The WAAC recognized the significance and power of Moore’s shelter drawings and subsequently commissioned him to produce works for the nation. The committee purchased many of his drawings, ensuring they became part of the national collection and were exhibited to the public, capturing the collective spirit and determination of wartime Britain.<\/p>\n\n\n

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Figure 7. Henry Moore, Tube Shelter Perspective 1941 Presented by the War Artists Advisory Committee 1946, Tate<\/figcaption><\/figure>\n<\/div>\n\n\n

Frances Hodgkins dealt with the war in a more indirect way, often focusing on the landscapes and the people that were altered by the conflict. Her work did not depict combat or its immediate physical toll, but there was a sense of melancholy, a muted color palette, and an austere approach to form that was reflective of the general sentiment during the wartime and immediate post-war periods. In comparison to Bacon’s more confrontational triptych, Hodgkins offered a more introspective look at the human condition under the pressures of global unrest. Hodgkins, with her vibrant watercolors, captured the landscapes and objects touched by war, infusing them with life and resilience amidst the turmoil. Her work was marked by a certain buoyancy and continuity with pre-war art traditions. <\/p>\n\n\n

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Figure 8. Frances Hodgkins, The Lake<\/em> c.1930-5 <\/figcaption><\/figure>\n<\/div>\n\n\n

Sutherland, who had a profound understanding of the visceral impact of the war, recognized Bacon’s talent and advocated for his inclusion in the Lefevre Gallery’s exhibition[3]<\/a>. Sutherland’s own works resonated with Bacon’s raw emotional intensity and helped to frame the younger artist\u2019s work within the broader narrative of British art during wartime. When Ben Nicholson withdrew from the Lefevre Gallery showing, it was Sutherland who advocated for Bacon\u2019s inclusion, stating \u201cas for the painter to take BN\u2019s place it seems there is not much choice other than Piper. I should really prefer Francis Bacon for whose work you know I have a really profound admiration. It is true he has shown very little; but nowadays with every Tom, Dick and Harry showing yards of painting without much selection or standard this is refreshing, & his recent things, while being quite uncompromising, have a grandeur & brilliance which is rarely seen in English art\u201d[4]<\/a>. The scholar Martin Hammer has noted the strong thematic similarities between the two in his writing \u201cBacon and Sutherland: Patterns of Affinity in British Culture of the 1940s\u201d. Sutherland\u2019s advocacy for Bacon\u2019s inclusion suggests Bacon\u2019s ability to represent ideas that were missing from the greater European art ethos at the time. Sutherland, who had completed around 150 different works for the WAAC during the period of 1940-45 was greatly preoccupied with these representations.[5]<\/a> Bacon\u2019s harrowing triptych reflected thematic interest in the human form distorted by psychological and physical trauma. While a jarring stylistic departure from the conventional war art of the time, the theme of Bacon\u2019s painting had a curious resonance with the wartime and post-war ethos that the WAAC sought to document.<\/ins><\/p>\n\n\n\n

The debut of Three Studies for Figures at the Base of a Crucifixion<\/em> in 1945 sent ripples through the British art community. Bacon\u2019s triptych was a radical departure from the conventional narratives of heroism and valor often associated with wartime art. His work eschewed any glorification of the war. Instead, Bacon’s work presents a counter-narrative, one that is unflinching in its portrayal of the war’s harrowing impact on the human spirit. Critics of the time found themselves grappling with the stark differences in these artists’ approaches. Many lauded Bacon’s audacity, with Herbert Furst claiming that he was<\/ins> \u201cso shocked and disturbed by the surrealism of Francis Bacon that I was glad to escape this exhibition\u201d[6]<\/a>. However, others found it excessively macabre, especially when placed alongside the more tempered responses of Sutherland and Hodgkins. Describing his art as works of horror, other reviews claimed that \u201cthese pictures expressing his sense of the atrocious world into which we have survived seems [to me] symbols of outrage rather than works of art.\u201d[7]<\/a> It challenges viewers to confront the psychological scars left by war, rather than its glories. This challenge extends to Bacon’s use of the triptych form, traditionally associated with altarpieces and religious art, which here invite a sacrilegious comparison that further intensifies the work’s provocative nature. By co-opting a format steeped in reverence and sanctity to present a tableau of torment and despair, Bacon subverts expectations and compels a re-evaluation of wartime narratives and the role of art in society.<\/p>\n\n\n\n

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[1]<\/a> Lefevre Fine Art, The History<\/em><\/p>\n\n\n\n

[2]<\/a> Hammer, \u201cFrancis Bacon and the Lefevre Gallery\u201d<\/p>\n\n\n\n

[3]<\/a> Martin Hammer, Francis Bacon and the Lefevre Gallery<\/em>, 2010<\/p>\n\n\n\n

[4]<\/a> GS to DM, n.d. [mid-January 1945], LGA.<\/p>\n\n\n\n

[5]<\/a> Paul Gough, Graham Sutherland in Context: War, Art and the Commissioning Schemes<\/em><\/p>\n\n\n\n

[6]<\/a> Furst, Herbert. \u201cCurrent Shows and Comments: On the Significance of a Word.\u201d Apollo<\/em> 41, no. 231 (1945).<\/p>\n\n\n\n

[7]<\/a> Mortimer, Raymond. \u201cThree Studies for Figures at the Base of a Crucifixion”.\u201d New Statesman and Nation<\/em>, 1945.<\/p>\n\n\n\n

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The Lefevre Gallery Three Studies for Figures at the Base of a Crucifixion made its debut in 1945 at the Lefevre Gallery in London. Bacon’s relationship with the gallery was symbiotic. While it provided him with a platform and the affirmation he critically needed, his work added a raw, visceral dimension to the gallery\u2019s repertoire. The […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-78","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/78","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=78"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/78\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=78"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":77,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=77"},"modified":"2024-04-16T01:53:30","modified_gmt":"2024-04-16T01:53:30","slug":"francis-bacon-amidst-the-turmoil","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/francis-bacon-amidst-the-turmoil\/","title":{"rendered":"Francis Bacon Amidst the Turmoil"},"content":{"rendered":"\n

Francis Bacon Amidst the Turmoil<\/h2>\n\n\n
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\"J.S.
J.S. Lewinski, Francis Bacon<\/em>, 1967, National Portrait Gallery<\/figcaption><\/figure>\n<\/div>\n\n\n

During the late 1920s, Francis Bacon settled into a London apartment and ventured into the world of interior and furniture design. It was a creative but not yet fully formed period for Bacon, who was searching for his artistic voice. The Australian painter Roy de Maistre, who Bacon met through his design work, became a pivotal figure in his life, not only as a patron but as a mentor[1]<\/a>. De Maistre introduced Bacon to oil painting and guided him through the nascent stages of his development as an artist. Bacon\u2019s early work was heavily influenced by the transformative experience of viewing Picasso and Surrealist artworks during a visit to Paris. Bacon himself stated \u201cI went to Paris for a short time. While there I saw at Rosenberg\u2019s an exhibition of Picasso, and at that moment I thought, well I will try and paint too.\u201d[2]<\/a> This influence was apparent in his 1933 painting “Crucifixion,” (Figure 8) a piece that resonated with the unsettling themes of anguish and dread that would become the hallmark of his later work. The stark, skeletal composition gained some recognition, being published in Herbert Read’s “Art Now” and purchased by collector Sir Michael Sadler. However, despite this early success, Bacon struggled to gain wider acclaim. His self-organized exhibition in 1934 went largely unnoticed, and his paintings were notably excluded from the International Surrealist Exhibition on the grounds that they were not sufficiently Surrealist. These setbacks, coupled with a sense of disillusionment, led Bacon to a nomadic lifestyle, and he destroyed much of his work from this period in a fit of self-critique. By his own later admission, only fifteen or so pieces from before 1943 survived, as he felt his true artistic career began with the triptych that marked his breakthrough.<\/p>\n\n\n\n

Due to his asthma, Bacon was exempt from active military service during World War II. However, he volunteered for a role in Civil Defence, specifically working in the ARP. The duties in ARP included firefighting, civilian rescue, and the recovery of the dead [3]<\/a>. Bacon’s time serving with the ARP during the Blitz exposed him to the immediacy of suffering and the precariousness of life, infusing his work with a visceral quality that seemed to capture the existential anxiety of the era. Though never formally associated with the WAAC, Bacon\u2019s work shared a thematic lineage with the committee’s mission.  Bacon confronted a continent scarred both physically and mentally. This grim reality, which spared neither man nor monument, became the raw material for Bacon\u2019s artistic endeavors. While WAAC artists, including Graham Sutherland, depicted the war’s physical devastation, Bacon delved into the internal landscape of those affected by the violence of the war. The thematic parallels between Bacon’s focus on the tortured human form and the WAAC’s documenting of Britain’s wartime experience were significant. Both were responding to the same historical moment, albeit through different lenses.<\/p>\n\n\n\n

In retrospect, Bacon’s experiences in the 1940s\u2014his early attempts at success, the mentoring by de Maistre, the influence of Picasso and the Surrealists, the rejection, the wandering, and the destruction of his own work[4]<\/a>\u2014were all part of the crucible that forged his identity as an artist. His personal history during this decade is critical to understanding the themes he would explore throughout his career. Bacon himself pinpointed the 1944 triptych as the true genesis of his oeuvre, marking the moment when his distinctive style began to crystallize\u2014a style that would continue to engage with the depths of human experience and the fragility of existence.<\/p>\n\n\n\n

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[1]<\/a> Rina Arya, The Influence of Roy de Maistre on Francis Bacon, <\/em>2017<\/p>\n\n\n\n

[2]<\/a> David Sylvester, Interviews with Francis Bacon, <\/em>2012<\/p>\n\n\n\n

[3]<\/a> Estate of Francis Bacon, Biography 1940s<\/em><\/p>\n\n\n\n

[4]<\/a> Martin Harrison, In Camera: Francis Bacon, <\/em>39<\/p>\n\n\n\n

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Francis Bacon Amidst the Turmoil During the late 1920s, Francis Bacon settled into a London apartment and ventured into the world of interior and furniture design. It was a creative but not yet fully formed period for Bacon, who was searching for his artistic voice. The Australian painter Roy de Maistre, who Bacon met through his […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-77","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/77","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=77"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/77\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=77"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":75,"date":"2024-03-08T04:54:09","date_gmt":"2024-03-08T04:54:09","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=75"},"modified":"2024-04-16T01:49:26","modified_gmt":"2024-04-16T01:49:26","slug":"ww2-britain","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/ww2-britain\/","title":{"rendered":"WWII Britain"},"content":{"rendered":"\n

World War II Britain<\/h2>\n\n\n\n

During the early years of WWII, the British populace was acutely aware of the atrocities committed by the Axis powers, both from news reports and the accounts of refugees who had fled the horrors in mainland Europe. Stories of concentration camps, mass persecutions, and the Holocaust began to trickle in, painting a grim picture of a continent under the iron grip of fascist ideologies. This was not just a military conflict; it was an ideological battle against a regime that threatened the very fabric of democratic and humane values. Bacon, like many of his contemporaries, would have been acutely attuned to these realities. The psychological and emotional scars left by the war, the haunting images of devastated cities and the whispered tales of unimaginable cruelties in distant lands, would indelibly shape the conscience and expressions of an entire generation.<\/p>\n\n\n\n

The British home front became an emblem of endurance, unity, and defiance against the looming shadow of fascism. As the war’s tides shifted across Europe, Britain found itself facing the brunt of Hitler’s ambitions, evident in the relentless bombing campaigns that altered the rhythm of daily life and cast a long shadow over the nation’s future. The Blitz, the German Luftwaffe’s intense bombing campaign against Britain, became a darkly iconic period from September 1940 to May 1941. Major cities, including London, were bombarded nightly, The nights were lit by the fires of incendiary bombs, and the days were filled with the rubble and ruin of once-familiar streets. The Blitz targeted strategic military and industrial locations, but the bombs did not discriminate. Civilian areas were often affected,  causing significant casualties, the destruction of homes, and a tangible sense of fear among the populace.[1]<\/a> The British government, anticipating aerial bombardments, had initiated measures to protect its civilian population. Air Raid Protection (ARP) wardens became a fixture in local neighborhoods, tasked with enforcing blackouts, providing air raid warnings, and helping to coordinate emergency services after attacks[2]<\/a>. The blackouts, intended to make it difficult for enemy bombers to identify targets, also transformed urban life into a world of shadows and obscurity. Amidst the air raids and blackouts, life was a juxtaposition of mundane daily routines and the ever-present uncertainty of war.<\/p>\n\n\n\n

Civilian morale and mental health was a significant concern for the government during these strenuous times [3]<\/a>. The Ministry of Health was tasked with the job of propaganda, producing posters, films, and broadcasts to keep spirits high. The shared experience of rationing, the collective endeavor of ARP, and the ubiquity of propaganda forged a powerful sense of community and common purpose. As Britain navigated the perilous waters of the Second World War, the government recognized the potential of art as a cultural weapon and a means to bolster national morale. The War Artists’ Advisory Committee (WAAC) was established in 1939, under the chairmanship of Sir Kenneth Clark, with the mission to compile a comprehensive artistic record of Britain at war. The committee was tasked with commissioning artists to paint scenes of wartime Britain, covering the home front and military activities, ensuring that future generations would have a visual chronicle of the period’s trials and triumphs. The objectives of the WAAC extended beyond mere documentation; it aimed to sustain the cultural life of the nation during a time when the arts were under threat. The committee sought to provide employment for artists and to harness their talents in service of the war effort. The art produced under the auspices of the WAAC was intended to capture the spirit of the age, to depict the heroism of the armed forces, the stoicism of civilians, and the indomitable resolve of the Allies[4]<\/a>.<\/p>\n\n\n

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\"Ministry
Figure 3. Ministry of Health, If You Are Bombed Out,<\/em> 1939, lithograph, Imperial War Museum<\/figcaption><\/figure>\n<\/div>\n\n\n

The narrative crafted through WAAC-commissioned art was multifaceted. On one hand, these works served as a form of propaganda, designed to inspire and to unite. They celebrated British tenacity, commemorated sacrifices, and offered a vision of a society undaunted by the specter of fascism. The art was disseminated through exhibitions, reproduced in magazines, and used in posters, playing a part in the information warfare that accompanied physical combat. Artists commissioned by the WAAC included some of the most prominent names in British art, as well as lesser-known painters whose work would come to be recognized through their wartime contributions. Figures such as Henry Moore, Paul Nash, and Graham Sutherland created some of their most enduring work under the aegis of the WAAC .[5]<\/a> The WAAC did not dictate a particular style; thus, the body of work produced is remarkably diverse. It includes traditional representations of military heroism and sacrifice but also modernist interpretations of the war’s psychological effects. The WAAC art pieces range from pastoral scenes that evoke a rural idyll unaffected by war to stark images of industrial might and the machinery of conflict. Moreover, the WAAC collection serves as a testament to the role of women during the war, with artists like Laura Knight capturing the contributions of female military personnel and workers in munitions factories. The inclusivity of the WAAC’s commissions helped to democratize the narrative of the war, moving it beyond the front lines to include the experiences of all strata of society.<\/p>\n\n\n\n

Through the lens of WAAC-commissioned art, the narrative of World War II becomes a tapestry of human experience. These works do not merely recount events; they evoke the emotional landscape of a nation under siege, the resilience of its people, and the pervasive hope for a peaceful and more just future. The WAAC’s legacy is thus one of profound cultural significance. It not only preserved the memory of Britain’s darkest and finest hours but also underscored the essential role that art can play in shaping and sustaining national identity during times of crisis.<\/p>\n\n\n

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\"September
Figure 4. September 7th<\/em>, 1940, Getty Images<\/figcaption><\/figure>\n<\/div>\n\n\n
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[1]<\/a> Mark Clapson, Air Raids In Britain, 1940-45, <\/em>2019<\/p>\n\n\n\n

[2]<\/a> Civil Defense, Air Raid Precautions, <\/em>1940<\/p>\n\n\n\n

[3]<\/a> Arthur Jersild, Mental Health of Children and Families in Wartime, <\/em>1943<\/p>\n\n\n\n

[4]<\/a> Roger Tolson, A Common Cause: Bitain\u2019s War Artist\u2019s Scheme<\/em><\/p>\n\n\n\n

[5]<\/a> National Portrait Gallery Official War Artists<\/em><\/p>\n\n\n\n

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World War II Britain During the early years of WWII, the British populace was acutely aware of the atrocities committed by the Axis powers, both from news reports and the accounts of refugees who had fled the horrors in mainland Europe. Stories of concentration camps, mass persecutions, and the Holocaust began to trickle in, painting […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-75","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/75","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=75"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/75\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=75"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":72,"date":"2024-03-08T04:50:55","date_gmt":"2024-03-08T04:50:55","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=72"},"modified":"2024-04-16T18:17:51","modified_gmt":"2024-04-16T18:17:51","slug":"the-three-studies","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/the-three-studies\/","title":{"rendered":"The Three Studies"},"content":{"rendered":"\n

The Three Studies<\/h2>\n\n\n\n
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Visual Analysis<\/a><\/font><\/figcaption><\/figure>\n\n\n\n
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Literature Review<\/a><\/font><\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

The Three Studies<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-72","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/72","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=72"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/72\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=72"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":64,"date":"2024-03-08T04:46:37","date_gmt":"2024-03-08T04:46:37","guid":{"rendered":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/?page_id=64"},"modified":"2024-04-16T01:53:02","modified_gmt":"2024-04-16T01:53:02","slug":"literature-review","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/literature-review\/","title":{"rendered":"Literature Review"},"content":{"rendered":"\n

Literature Review<\/h2>\n\n\n\n

The unsettling power of Three Studies for Figures at the Base of a Crucifix<\/em>ion arises from a masterful interplay of form, content, and historical context. Art historian Ernst van Alphen in “Francis Bacon and the Loss of Self”  explores the sense of dislocation and defamiliarization in Bacon’s work, suggesting that the artist’s images deprive viewers of a secure sense of reality. This dislocation is amplified in the triptych format, which, with its sacred origins, evokes expectations of religious reverence and contemplation. Yet, what Bacon presents is not the divine, but the grotesque \u2014 a subversion that inherently breeds unease. Bacon’s use of stark color contrasts, his distortion of the human form, and the suffocating confinement of the figures within nondescript spaces all contribute to a sensation of dread. These formal decisions aren’t arbitrary; they ground the viewer in a visceral reality where sacred structures are repurposed to convey profound existential distress.<\/p>\n\n\n\n

The pervasive dread and unease in Bacon\u2019s work can be interpreted in various ways in relation to fascism. On one hand, the nightmarish quality of his figures could be seen as a warning against the dehumanizing forces of fascist ideologies. On the other, by contorting and presenting the human form in such a raw and vulnerable manner, Bacon might be staging an act of defiance against fascist ideals of purity, strength, and order. Both interpretations point towards a deep engagement with, and response to, the political turmoil of his time. Regardless of the exact stance, a consensus has emerged among scholars that Bacon’s work elicits a powerful emotional response tied to the socio-political context of his era.<\/p>\n\n\n\n

Leaders in Bacon scholarship, such as Hugh M. Davies, provide valuable insights into the artist’s psychology and philosophy, deciphering the symbolism within his work. However, these analyses often lack broader contextualization within the artistic climate of his time. Laura Doan’s article, “Recuperating the Postwar Moment: Green\u2019s Back and Bacon\u2019s \u2018Three Studies for Figures at the Base of a Crucifixion\u2019”[1]<\/a> explores the connection between Bacon’s painting and British photographer William Green’s work. <\/a> Doan argues that both Bacon and Green were interested in exploring the violence and trauma of the postwar world, and that their work can be seen as a way of “recuperating” the postwar moment. The article specifically discusses the way in which both Bacon and Green use distorted bodies and violent imagery to represent the trauma of the war. The term “recuperating” in this context implies that both Bacon and Green, through their respective mediums of painting and photography, engaged with the harsh realities of their era by creating works that directly confront the violence and trauma experienced during the war. Their artistic endeavors are thus seen not just as creative outputs but also as forms of historical and cultural processing, a way for society to deal with the lingering psychological impacts of the war. By using distorted bodies and violent imagery, both artists seem to reject sanitized or heroic portrayals of the war experience, opting instead for a raw and direct representation of trauma. This approach can be interpreted as an attempt to represent the unvarnished truth of human suffering and the complexities of the postwar psyche. The implication of this idea is significant: it positions the works of Bacon and Green as integral to the collective understanding and memorialization of a traumatic period in history. Art, in this sense, becomes a tool for psychological healing and social reflection, offering a space where difficult emotions and experiences can be explored and understood. Moreover, it suggests that by placing these works within the larger context of their time, one can gain a deeper appreciation of their cultural and historical relevance, as well as their contribution to the broader narrative of postwar recovery.<\/p>\n\n\n\n

Scholars like Richard Calvocoressi, in “Francis Bacon: Couplings” delves into Bacon’s engagement with themes of wartime violence, politics, and trauma. [2]<\/ins><\/a> <\/ins> Calvocoressi’s analysis contributes to understanding how Bacon’s work transcends mere representation of the human form, intertwining it with deeper socio-political and psychological narratives. Calvocoressi provides insight into the layered meanings behind Bacon’s art. This perspective is crucial for understanding not just the thematic content of Bacon’s work, but also his method of integrating personal and collective experiences into his art. In the case of “Three Studies,” this approach helps to decipher how Bacon encapsulated the trauma of his time, transforming it into a visceral artistic expression that challenges and confronts the viewer.<\/p>\n\n\n\n

My thesis aims to carve a distinct niche within the existing body of literature on Francis Bacon’s “Three Studies for Figures at the Base of a Crucifixion” by undertaking a comparative analysis with artists such as Graham Sutherland, Frances Hodgkins, Henry Moore, and Matthew Smith. Notably, these artists not only exhibited alongside Bacon at the same gallery during a pivotal time but also shared the experience of serving in the War Artists’ Advisory Committee (WAAC) during World War II. This unique confluence of circumstances provides a rich comparative ground to explore how each artist, within their distinct styles and thematic concerns, engaged with the trauma of war. Furthermore, my thesis seeks to employ Cathy Caruth’s trauma theory as a critical framework to elucidate the representation and impact of trauma in Bacon’s work. Caruth’s conceptualization of trauma, focusing on its belatedness, its unassimilability, and the way it is experienced through repetition, offers a nuanced lens through which to view Bacon’s abstract and distorted figures. By applying Caruth’s theory, I intend to deepen the understanding of how Bacon’s painting not only encapsulates the personal and collective trauma of his era but also engages with the viewer in a way that mirrors the processes of traumatic memory and its aftermath. This interdisciplinary approach, juxtaposing Bacon’s work with his contemporaries within the context of their shared experiences of war and using a sophisticated theoretical framework to interpret the depiction of trauma, sets my thesis apart. It not only contributes to a more comprehensive understanding of Bacon’s place within the post-war British art scene but also illuminates the broader dialogues between art, trauma, and memory that these artists collectively engage with. Through this analysis, my thesis aims to offer fresh insights into the complexities of representing trauma in art and the specific resonance of Bacon’s Three Studies<\/em> in the landscape of 20th-century artistic responses to conflict and suffering.<\/p>\n\n\n\n

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[1]<\/a> Laura Doan, Recuperating the Postwar Moment: Green\u2019s Back and Bacon\u2019s \u2018Three Studies for Figures at the Base of a Crucifixion<\/em>.\u2019\u201d Mosaic, vol. 23, no. 3, 1990, pp. 113\u2013124,<\/p>\n\n\n\n

[2]<\/ins><\/a> Richard Calvocoressi and Martin Harrison, Francis Bacon\u202f: Couplings<\/em> London: Gagosian, 2019.<\/ins><\/p>\n\n\n\n

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Literature Review The unsettling power of Three Studies for Figures at the Base of a Crucifixion arises from a masterful interplay of form, content, and historical context. Art historian Ernst van Alphen in “Francis Bacon and the Loss of Self”  explores the sense of dislocation and defamiliarization in Bacon’s work, suggesting that the artist’s images […]<\/p>\n","protected":false},"author":4162,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-64","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/64","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/users\/4162"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/comments?post=64"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/pages\/64\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/Bacons-Crucifixion\/wp-json\/wp\/v2\/media?parent=64"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]