Francis Bacon and Bullfighting
Abstract
This article explains how the physical and philosophical world of the corrida might nuance our understanding of life and work of the Anglo-Irish artist Francis Bacon, and vice-versa. To this end, the analysis is split into three sections. The first offers a biographical sketch of Bacon’s interest in taurine subject-matter. This background context paves the way for an ethical and aesthetic comparison between the working practices of the painter and the matador. The third and last section interprets his final painting, Study of a Bull, as a vision of fear and pity to suggest Bacon blurred distinctions between man and beast as he neared death.
Downloads
Article download
Crossmark
License
In order to support the global exchange of knowledge, the journal Arte, Individuo y Sociedad is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. The originals published in this journal are the property of the Complutense University of Madrid and any reproduction thereof in full or in part must cite the source. All content is distributed under a Creative Commons Attribution 4.0 use and distribution licence (CC BY 4.0). This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence.
