Song of a Reformed Headhunter

TLS December 5 2008 from Alan Jenkins' review of Francis Bacon at Tate Britain: Yet, as John Russell pointed out nearly thirty years ago, "perhaps the most persistent of Bacon's preoccupations is the problem of what a man is to do when he is alone in a room" . . . * Bacon would sometimes, to achieve the desired "thickness", model his single figure on a sequence of photographs from Eadweard Muybridge's The Human Body in Motion that showed two men wrestling--though at a glance, they could be having sex. . . . Then, once he had begun to show two or more people, the coupling--as in those earlier exceptions--becomes explicit. * In her catalogue essay Victoria Walsh cites Foundations of Modern Art by Amédée Ozenfant (1931) as having perhaps fertilized the insatiably curious young painter's imagination in ways that would lie dormant for years: "The search for intensity dominates the whole of modern painting. There can be no intensity without simplifi...

Nicolas Poussin (French, 1594–1666) inspired many painters I admire: Corot, Cezanne, Matisse. When I looked at his paintings at the Met this afternoon, I found myself hunting for signs of these other men, the most obvious of which was his almost-geometric mountains. The paradise he painted was often marked by death and pain. The Arcadian Shepherds , otherwise known as Et in Acadia Ego , stumble on a tomb. Their postures portray dynamically the turning of their bodies towards this unexpected discovery. The green cloak of the river god recalls his watery abode streaming away down the slope, a movement enhanced by the water pouring out of his jar. The figures grow older when seen from left to right, the golden hair of the shepherdess turning into the barren crown of the seated or fallen river god. In other visions of Arcadia, a snake kills a man; Thisbe discovers Pyramus dead while the lion mauls a horse and his rider in an approaching storm; Eve points out the fruit to Adam. In a marvelo...