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Not surprisingly, paintings by Francis Bacon were usually commented by resorting to an instrumentarium derived from a dictionary of the history of art. The author proposed a different perception and tried to view Bacon's works thorough the prism of concepts not from the realm of aesthetics but theology. By referring to numerous statements made by assorted commentators he traced the obstinately recurring motif of evil. This is a proposal to treat Bacon's oeuvre as a painterly introduction of the presence of evil and as sui generis 'theological treatises' stressing the motif of irremovable evil in human existence, a strong presence of the infernal element in the world.
In his oeuvre Francis Bacon hints at the fact that portraiture sacrifices the subject for the sake of representation. For this reason, portraiture as a genre needs to re-determine the conditions that originally shaped it. Through an analysis of the manner in which Bacon depicts his subjects I will argue that his portraits blur the boundaries between object and subject, portrait and viewer, in order to remodel conventional notions of portraiture. Through Gilles Deleuze’ s theory on Francis Bacon, I will reinterpret Bacon ’s works through the prism of Buddhism, arguing that understanding the works through Buddhist practices opens the possibility of a complete transformation of pre-existing concepts which traditionally shaped portrait making.
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