Remember Me
Or use your Academic/Social account:


Or use your Academic/Social account:


You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.


Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message


Verify Password:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Schütte, Uwe
Publisher: Iudicium
Languages: English
Types: Part of book or chapter of book
This chapter undertakes the first examination of the role the fine arts play in Thomas Bernhard’s prose works. Though not as prominent as the role of music, painting and the fine arts play a crucial role in Frost and Alte Meister; these two novels coincidentally also happen to be the first and last novels written by Bernhard. This chapter takes its cue from the positive role awarded to Francis Bacon in the novel Das Kalkwerk. Comparing and contrasting the relation and influence between the art of Bacon and the literature of Bernhard, I am able to demonstrate a number of surprising analogies. Following a brief biographical synopsis, I focus on four aesthetic operations that are crucial to both artists. Using the key terms of ‘middle way’, ‘variation’, ‘vibration’ and ‘mediation’, I am able to uncover surprising similarities between the novels and the paintings. These hidden connections are further confirmed by looking at the two artists’ shared major motifs, namely the slaughterhouse, the scream, the relation between animals and humans, and pain. This bleak outlook on the state of human civilisation that these two major artists of the end of the 20th century share, embodies both a warning and a prophesy for the 21st century.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 78 Vgl. David Sylvester: Looking at Francis Bacon. London 2000, S. 17f. Zimmermann: Francis Bacon Kreuzigung, S. 32 zeigt ein im Jahr 1939 gemachtes Foto von Hitler im offenen Wagen, das die Ähnlichkeit der Darstellung belegt.
    • 79 Vgl. Zimmermann: Francis Bacon Kreuzigung, S. 34f.
    • 80 Zimmermann spricht mit Bezug auf die Gesichtspartie des gekreuzigten Wesens auf der Mitteltafel der Crucifixion (1965) von einem „Vexierkopf“: „Gewaltsam nach rechts verzogen erscheint die Mundpartie des Menschenkopfs der ‚Kreuzigung' - eine Zone, die zugleich die Schnauze des Tierkopfes repräsentiert.“ (Zimmermann: Francis Bacon Kreuzigung. S. 21.) Zimmermann stellt einer Detailabbildung des Kopfes ein Foto Hitlers bei, um die Ähnlichkeit der Physiognomien zu demonstrieren. Darüber hinaus kann ich in dem ‚Vexierkopf' des gekreuzigten Wesens auch Gesichtszüge Bacons ausmachen.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article