David Sylvester 『Interviews with Francis Bacon』

「I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself.」
(Francis Bacon)

David Sylvester 
『Interviews with
Francis Bacon』

with 146 illustrations

Thames & Hudson, New York, 1981
Enlarged edition 1987
Reprinted 2012
208pp, 23.2x16.6cm, paperback
Printed and bound in Singapore

Previously published as *The Brutality of Fact: Interviews with Francis Bacon*


interviews with francis bacon 01


Preface (November 1992)

Interview 1 (dates from 1962)
Itnerview 2 (dates from 1966)
Itnerview 3 (dates from 1971-73)
Interview 4 (dates from 1974)
Interview 5 (dates from 1975)
Interview 6 (dates from 1979)
Interview 7 (dates from 1979)
Interview 8 (dates from 1982-84)
Interview 9 (dates from 1984-86)

Editorial Note
List of Illustrations


「Interview 2」より:

「DS One very personal recurrent configuration in your work is the interlocking of Crucifixion imagery with that of the butcher's shop. The connexion with meat must mean a great deal to you.
FB Well, it does. If you go to some of those great stores, where you just go through those great halls of death, you can see meat and fish and birds and everything else all lying dead there. And, of course, one has got to remember as a painter that there is this great beauty of the colour of meat.
DS The conjunction of the meat with the Crucifixion seems to happen in two ways - through the presensce on the scene of sides of meat and through the transformation of the crucified figure itself into a hanging carcass of meat.
FB Well, of course, we are meat, we are potential carcasses. If I go into a butcher's shop I always think it's surprising that I wasn't there instead of the animal.」

(DS あなたの作品に繰り返し現れる磔刑図と肉屋のイメージの連結にはあなたにとって重要な意味があるはずです。
FB 大きな精肉店は死んだ生き物でいっぱいの死の殿堂です。それに肉の色彩は画家にとってたいへん美しいものです。
DS 磔刑図と食肉の結合には二通りありますね。肉片が画面に描かれるのと、十字架上の人物が吊り下げられた肉に変容するのと。
FB 私たちは肉であり、潜在的な死体なのです。精肉店で動物たちの代わりに並べられていてもおかしくないのです。)

「DS Could you try and define the difference between an illustrational and a non-illustrational form?
FB Well, I think that the difference is that an illustrational form tells you through the intelligence immediately what the form is about, whereas a non-illustrational form works fist upon sensation and then slowly leaks back into the fact.」

(DS イラスト的絵画と非イラスト的絵画の違いを説明してくれませんか。
FB イラスト的絵画は何が描かれているのかを理性を通して直接的に伝達するのですが、非イラスト的絵画はまず感覚に働きかけてそれから事実に戻ってゆくのです。)

「FB After all, one is always hoping that one will be able to do something nearer one's instinctive desire.」

(FB 結局のところ、人は己れの本能的欲望の達成に近づこうと望むものなのです。)

「Interview 3」より:

「FB I'm just trying to make images as accurately off my nervous system as I can. I don't even know what half of them mean. I'm not saying anything.」

(FB わたしは自分の神経系からできるだけ正確なイメージを取り出そうとしているだけなのです。それが何を意味しているのかは自分でもほとんどわからないし、何かを主張しているのでもありません。)

「Interview 5」より:

「DS At what age did you come to realize that death was going to happen to you too?
FB I realised when I was seventeen. I remember it very very clearly. I remember looking at a dog-shit on the pavement and I suddenly realized, there it is - this is what life is like. Strangely enough, it tormented me for months, till I came to, as it were, accept that here you are, existing for a second, brushed off like flies on the wall.」

(DS 何歳ぐらいで死を実感したのですか。
FB 十七歳の時でした。道端の犬のうんこを見つめていて突然実感したのです、これがそうなんだ、これが生きるということなのだと。結局わたしは、人間というのはいまここにいて、ほんの一瞬だけ存在して、壁にとまった蝿のように払い落とされてしまうものだということを受け入れたのです。)

「Interview 9」より:

「FB I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself.」

(FB 画家になろうと決心したなら、笑いものになるのを恐れてはならないのです。)

interviews with francis bacon 02

Francis Bacon Fragments of a Portrait - interview by David Sylvester



ひ-2-改(ひとでなしの猫 2 改訂版)


Away with the Fairies


分野: パタフィジック。

趣味: 図書館ごっこ。

好物: 鉱物。スカシカシパン。タコノマクラ。

将来の夢: 石ころ。

尊敬する人物: ジョゼフ・メリック、ジョゼフ・コーネル、尾形亀之助、森田童子。



netakiri nekotaroの最近読んだ本