期刊名称：Miranda. Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English-speaking world
电子版ISSN：2108-6559
出版年度：2020
期号：20
页码：1-6
DOI：10.4000/miranda.26954
出版社：Université Toulouse 2 - Le Mirail
摘要：Imagining new curatorial approaches to revisit Francis Bacon’s work offers a challenge in more than one way, maybe all the more so when the exhibition is thought through for a foreign public. Bacon en toutes lettres , on view at The Centre Pompidou in the Autumn of 2019 and early weeks of 2020 was meant to be one of the highlights of Paris’ artistic season—a season that will no doubt remain one of the most stimulating ones in recent years. When elaborating the show, Didier Ottinger, deputy director of the Museum of Modern Art, could overlook neither the lasting passion French art lovers have entertained for Bacon’s work, 1 nor the previous exhibitions devoted in Paris to the leading figure of what has been defined as “the School of London.” 2 Bacon en toutes lettres is, in that respect, a learned and sophisticated show, that reveals an aspect of Bacon’s work hitherto little known to the French public—the influence literature had on his work—, while gratifying it with works fully matching one’s idea of Bacon as the painter of tortured flesh and sublime affects.
关键词：intertextualité; Centre Pompidou; peinture britannique contemporaine; figuration; muséographie; intertextuality; contemporary British painting; museography; British art; Joseph Conrad; Gilles Deleuze; T.S;Eliot; Francis Bacon; Rembrandt; Aeschylus; Michel Leiris; George Dyer; Didier Ottinger; David Sylvester
其他关键词：Francis Bacon, Centre Pompidou, contemporary British painting, figuration,
intertextuality, museography
