xiv, 141 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Twentieth-century British figurative painter Francis Bacon (1909-1992) is
perhaps best known for his near-obsessive series of papal paintings inspired by Diego
Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of
Bacon's entire artistic career. The artist's working process plays a crucial role in
understanding this celebrated and varied series. Bacon deliberately avoided Velazquez'
"original" portrait, preferring instead to work with photographic reproductions of the
piece alongside a large collection of seemingly disparate visual material in his chaotic
studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that
Bacon explored issues of mechanization, fragmentation, and repetition through these
visual juxtapositions in order to offer a critique of artistic and religious institutions. / Committee in Charge:
Dr. Kate Mondloch, Chair;
Dr. Lauren G. Kilroy;
Dr. Ellen Rees
| Identifer | oai:union.ndltd.org:uoregon.edu/oai:scholarsbank.uoregon.edu:1794/9871 |
| Date | 06 1900 |
| Creators | Hong, Kimberly Yuen, 1984- |
| Publisher | University of Oregon |
| Source Sets | University of Oregon |
| Language | en_US |
| Detected Language | English |
| Type | Thesis |
| Relation | University of Oregon theses, Dept. of Art History, M.A., 2009; |
Page generated in 0.0439 seconds