The Triptych Series:Vol. 2 No. 6 Melinda Camber Porter Archive of Creative Works Melinda Camber Porter/ Joseph R. Flicek
Triptych:An Examination of the Manic Street Preachers Holy Bible Larissa Wodtke/ Rhian E. Jones
In his great triptych ´´The Millennium,´´ Bosch used oranges and other fruits to symbolize the delights of Paradise. Whence Henry Miller´s title for this, one of his most appealing books; first published in 1957, it tells the story of Miller´s life on the Big Sur, a section of the California coast where he lived for fifteen years. Big Sur is the portrait of a place-one of the most colorful in the United States-and of the extraordinary people Miller knew there: writers (and writers who did not write), mystics seeking truth in meditation (and the not-so-saintly looking for sex-cults or celebrity), sophisticated children and adult innocents; geniuses, cranks and the unclassifiable, like Conrad Moricand, the ´´Devil in Paradise´´ who is one of Miller´s greatest character studies. Henry Miller writes with a buoyancy and brimming energy that are infectious. He has a fine touch for comedy. But this is also a serious book-the testament of a free spirit who has broken through the restraints and clichés of modern life to find within himself his own kind of paradise.
Fresken malen ohne Wände:Zur Funktion Genese und Bedeutung der Triptychen Hans von Marées Frank Schmidt
In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon´s work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon´s style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the ´body without organs´ and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon´s work to Cezanne´s notion of a ´logic´ of sensation and, investigating this logic, explores Bacon´s crucial relation to past painters such as Cezanne, Velasquez, and Soutine.
Oskar Kokoschka (1886-1980) is, along with Francis Picabia and Pablo Picasso, one of a generation of artists who retained their allegiance to figurative painting after the Second World War, even as abstract art was consolidating its predominance. It is also thanks to them that non-representational painting and figurative art can now be practised side by side without partisan feuding. Artists of the present day acknowledge their debt to Kokoschka in particular. The retrospective traces the motifs and motivations of a painter who felt at home in no fewer than five countries. It brings together 100 paintings and an equal number of works on paper, photographs and letters from all phases of his career. Two impressive triptychs, each around eight metres wide and two metres high - ´´The Prometheus Triptych´´ (1950, Courtauld Gallery, London) and ´´Thermopylae´´ (1954, University of Hamburg) - are the high point of Kokoschka´s mature oeuvre, and of this retrospective. The two works have only been shown together once before, at the Tate in 1962.
Published to accompany the first Francis Bacon retrospective in Paris for twenty years, this catalogue analyses Bacon´s works from 1971 onwards in light of his relationship to literature. Bacon always vigorously opposed over-analysis of his paintings, preferring to interpret them in purely illustrative or symbolic terms; he admitted, however, that literature was a powerful stimulus to his imagination. The artist was inspired by the images conjured up by certain texts: Aeschylus´ phrase ´the reek of human blood smiles out at me´ in particular haunted Bacon, while his 1978 work Painting refers to T. S. Eliot´s seminal poem The Waste Land. The inventory of Bacon´s personal library has identified more than 1,300 books, ranging from Bataille and Conrad to Nietzsche and Leiris. Including twelve of Bacon´s renowned triptychs, this lavish publication features eleven gatefolds and some sixty paintings created by Bacon between 1971 and his death in 1992. Reproduced here with analyses of Bacon´s paintings in the light of some of his most admired authors, these specially commissioned texts reveal new ways of understanding some of the most powerful works in the modern canon.