情迷画色

我知道大家因为George的悲惨结局会比较倾向于怪罪Francis，但他们的爱情是双向的——肉体上的出轨在两人身上都能看到，不算什么；精神上彼此却都痛苦着，因为本质上的区别不能靠近，互相伤害。我的理解是他们始于rough trade的关系最终还是让两人都没办法逃脱出去，也许就是电影中引用的“once a stone is polished, you can’t get it rough again. That’s why whores are afraid of cut flowers. That means they are going to die soon.”

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下面专业解说开始，电影从培根得知同性恋男友服用安眠药过度去世的消息开始。那时也是他的巴黎大展，他不动声色。但是回到床边……他说like a bomb exploding in reverse. Thoughts, ideas, fragments of images. All came back to me, and are forced back out in the cruel pastiche of experience.他想画的就是这种内爆。

用镜像模拟培根的画作，也是一种创造。一种跌落（因吸毒而自杀），一种反噬，一种聚变fusion，一种倒放，一种reverie。在酒吧里继续，延续着用酒杯玻璃的变形，来模拟培根。 Through a glass darkly.

于是倒序开始，两人第1次相识……

Colony Room朋友圈：Muriel, Deakin, Dan, Henrietta, Isabella，都喊他Miss Bacon, 因为他扮娘炮。 这个死魂灵的club： The Colony is a refuge for lost souls no longer in possession of living bodies。大家在讨论培根的新男友Like the cottage at Piccadilly——就像公厕一般， Always play the Tom-Tom drums. 也预言了The twilight world of unhappy poofs.

Mike McKenzie, Thea Porter, Jeffrey Bernard, Michael Wojas, Bacon, Ian Board, John Edwards, Tom Baker, Bruce B, Liz, Mike, Allan, John, Davi

下面就谈到了这一对poofs（这个词可能从ponce来），他们一起去看让.谷克多1960年的耶稣巨作。一起去看拳击 Francis was in his usual state of grace in the face of violence。然后他就：做画。

培根接受采访时，曾经说他最喜欢做的事情就是在家拿着爱人的照片，然后就可以在画布上撕裂他们。想怎么撕裂就怎么撕裂。培根就是如此兽性，他喜欢撕裂，也喜欢被撕裂。除了被男朋友做以外，还有斗牛和《战舰波将金号》的热血。

John Deakin’s photograph of George Dyer in the Reece Mews Studio, ca. 1964 绯闻男主角由007扮演，电影里的每张Deakin的照片都有出处。

二刷仍然将之定为一流作品。世人都喜欢拉法耶，义正词严，却不认得那些是二流伟人。聪明人懂得，只有邪恶的米拉波，才能登上祭坛。

2 如同巅峰时期的莎士比亚作品，哈姆雷特，总是处在或旁白或独白之间。与他的画作也相似。第三人称和第一人称之间，有一种第二人称的狂热。客观的理论上我们是迷失的，主观的道路我们是沉醉的。屠夫的摧残是无理的，放纵者的内爆是想象中的。（这种舞台性表达，见第57分钟）

这即是莎士比亚。是反古典戏剧的。所以是第二人称的。（分析之下你会发现，旁白和独白之间是疏离的）

“ The inner destructive demon.” 乔治人生的1/2，是在床上度过的。在床上的1/2, 是与培根度过的。与培根度过的，如同死亡的。如同死亡的，却总像画上的。 想做一部带有实验气质的培根主题情景剧sitcom，并不容易。

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没有想到在2000年前后的电影生产系统中，能产生这样的艺术品，这真是一种异数……

根据法森的回忆录传记，剧本做了很大的创造性工作，在艺术上无法估量，

它不是循规蹈矩的，从前到后弥赛亚式的传记堆砌，

而是一种火山似的，影像实验的，抽象诗歌。

这种创造的试图，本身值得崇敬，我向它致敬。你看看，他们不仅没有在剧情上做那种竭泽而渔，非常浅薄的虚荣造作。比如培根的同性恋男友，从天窗中掉下，就像魔鬼诱惑浮士德那样，其实是到他家来偷东西。而把它当成了一种哲学的偶遇，绘画的原始冲动。

在影像的实验方面，试图做到和培根的创作平行式的说明。这一点，他们居然做到了。这就像在一个移动靶上打枪，居然经常打到似是而非的地方，并因此而得分，于是产生了无限解释的可能性。

吃饭的时候对Swanson的那个一嘴歪牙.大肚腩……超近距离产生的影像变形，有点丑陋，这似乎在哲学上在自我追问：夸张和主动呈现是否因为失实，而变得不可理解？还是因为失实而看得更真切呢？

比真实更真实。那是灵魂暴露的机会。

所以电影几乎没有表现他在画什么，而是在表现他绘画时的冲动，所谓意在笔先。他被死亡和恶魔的潜意识折磨着，无法入眠。所以他会在床上数着性伙伴的梦境。现实主义的肮脏，基本不能够打扰他。我们开始看到一开始两个伙伴的生活领域，就是两个世界，然后两个世界从来没有融合在一起。

培根永远在他自己的世界里。电影反应就是他对干扰的态度变化，或者是抱怨的记录，和一群狐朋狗友的反讽语录。

只有在英国才能产生这样的艺术吧。大家害怕无聊的电影内容。然后又碰到了这样的艺术家导演，大胆的执了色子。

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George is both the muse, and victim. As well as Bacon both creator and destroyer.

Time both form and content, sound both noise and antidote

它是一种诗歌，多义性的文本。

情人之间距离，又远又近。

艺术既属于我们，也属于他者。

这种对于统一，我想能够解释为什么最后乔治自杀，培根的态度既疏离，又沉痛到骨子里。

跟看他的绘画是平行的。

所以不管这个电影到了哪里，不管场景发生在什么地方，都是培根一样的灵魂在游动，在评论，在四处闲逛，在浪费生命，在总结人生。

留下痕迹。

看之前是没想到是真人传记改编，发现曾真实发生过感觉更难过。

资料原文链接：//www.biography.com/artist/francis-bacon

Francis Bacon

Biography

(1909–1992)

UPDATED:SEP 15, 2020

ORIGINAL:APR 2, 2014

Artist Francis Bacon is best known for his post-World War II paintings, in which he represented the human face and figure in an expressive, often grotesque style.

Who Was Francis Bacon?

After traveling to Germany and France as a young man, Francis Bacon settled in London and began a career as a self-taught artist. Most of his paintings from the 1940s to '60s depict the human figure in scenes that suggest alienation, violence and suffering. Bacon's provocative, expressive work is considered some of the most important art of the postwar era.

Early Life and Artistic Beginnings

Bacon was born to English parents living in Dublin, Ireland, on October 28, 1909, and is the collateral descendant and namesake of the famed 16th-17th century philosopher. Bacon was raised in Ireland and England, and as a child, he suffered from asthma, which kept him from receiving a formal education. Instead, he was tutored at home.

（是那位著名的弗朗西斯培根的旁系后裔）

Bacon left home in 1927 at just 17 years old, with his parents not accepting his sexuality. He traveled to Berlin, Germany, where he took part in the city's gay nightlife as well as its intellectual circles, and to Paris, France, where he became further interested in art through visits to galleries. When Bacon returned to London in the late 1920s, he began a short career as an interior decorator, also designing furniture and rugs in a modern, Art Deco-influenced style. Additionally, he began to paint, first in a Cubist style influenced by Pablo Picasso and later in a more Surrealist manner. Bacon's self-taught work attracted interest, and in 1937, he included in a London group exhibition entitled "Young British Painters."

Paintings of the 1940s and '50s

Francis Bacon later dated the true beginning of his artistic career as 1944. It was around this time that he devoted himself to painting and began creating the works for which he is still remembered, with "Three Studies for Figures at the Base of a Crucifixion" seen as a major turning point. His large canvases depicted human figures — most often a single figure isolated in an empty room, in a cage or against a black background. For one series of paintings, Bacon was inspired by Diego Velázquez's portrait of Pope Innocent X (circa 1650), but he painted the subject in his own style, using dark colors and rough brushwork and distorting the sitter's face. These works came to be known as Bacon's "screaming pope" paintings.

In other works, a figure might stand beside a flayed carcass of meat. Still other paintings were derived from traditional religious subject matter. In all of his paintings, Bacon emphasized the universal experiences of suffering and alienation.

Art and Life After 1960

Even during a period in which modern art was dominated by abstraction, Bacon continued to paint the human face and figure. His emotional use of brushwork and color as well as his exaggeration of forms caused him to be labeled as an Expressionist artist, though he rejected the term.

Some of Bacon's works of the 1960s depict a lone male figure dressed in a business suit. Others showed nude figures, often with grotesquely altered proportions and features. Bacon used brighter colors at times, but themes of violence and mortality were still central to his art. He also frequently painted portraits of people he knew, including fellow artist Lucian Freud and George Dyer, who met Bacon upon attempting to rob the painter's home.

(Bacon and Dyer went on to become lovers in a relationship marked by great tumult. Dyer at one point framed Bacon for drug possession and later committed suicide. Their time together was depicted in the 1998 film Love Is the Devil: Study for a Portrait of Francis Bacon, starring Derek Jacobi, Daniel Craig and Tilda Swinton.)

Death and Legacy

Bacon, who was known for his carousing, maintained a home and a notoriously cluttered studio in London and continued to paint until the end of his life. While on holiday, he died in Madrid, Spain, on April 28, 1992, at the age of 82.

Bacon is considered one of Britain's major painters of the post-WWII generation, as well as an important influence on a new generation of figurative artists in the 1980s. His work is owned by major museums around the world, and he has been the subject of several retrospective exhibitions. His studio was acquired by the Hugh Lane Gallery in Dublin, where it has been recreated as a room for visitors to view. Bacon's "Three Studies of Lucian Freud" broke the record for the most expensive work ever sold at auction in 2013 when it was purchased for a final price of $142.4 million at Christie's in New York.

Citation Information

Article Title：Francis Bacon Biography

Author：Biography.com Editors

Website Name：The Biography.com website

URL：//www.biography.com/artist/francis-bacon

Access Date：2021年5月1日

Publisher：A&E Television Networks

Last Updated：April 27, 2021

Original Published Date：April 2, 2014