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dc.contributor.authorHong, Kimberly Yuen, 1984-
dc.date.accessioned2009-10-21T00:32:57Z
dc.date.available2009-10-21T00:32:57Z
dc.date.issued2009-06
dc.identifier.urihttp://hdl.handle.net/1794/9871
dc.descriptionxiv, 141 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.en_US
dc.description.abstractTwentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series of papal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions of the piece alongside a large collection of seemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues of mechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique of artistic and religious institutions.en_US
dc.description.sponsorshipCommittee in Charge: Dr. Kate Mondloch, Chair; Dr. Lauren G. Kilroy; Dr. Ellen Reesen_US
dc.language.isoen_USen_US
dc.publisherUniversity of Oregonen_US
dc.relation.ispartofseriesUniversity of Oregon theses, Dept. of Art History, M.A., 2009;
dc.subjectBacon, Francis, 1909-1992 -- Criticism and interpretationen_US
dc.titleTear Down the Veils: Francis Bacon's Papal Variations 1946-1971en_US
dc.title.alternativeFrancis Bacon's Papal Variations 1946-1971en_US
dc.typeThesisen_US


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