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artports.com - art online Lucy May Schofield New Art Teotihuacan au musée du Quai Branly Ce sont les grandes têtes de serpent insérées le long du temple de Quetzalcoatl qui nous accueillent, face à une immense maquette de Teotihuacan tentant de nous faire prendre conscience de l'ampleur d'une cité extraordinairement prospère pendant près des 6 premiers siècles de notre ère. Véritable pôle économique qui exerça son influence sur une grande partie du territoire mésoaméricain, Teotihuacan constituait aussi une puissance guerrière redoutable. J'ai été particulièrement sensible à ces pièces telle cette petite figurine réalisée avec des dizaines de tesselles de serpentine. Offrande retrouvée dans l'un des dépôts de fondation de la pyramide de la Lune, elle était enterrée là, parmi hommes et animaux sacrifiés lors de l'agrandissement de la pyramide. L'architecture de Teotihuacan (temples, palais, pyramides...) nous frappe par ses formes rigides et son apparente austérité alors que les fresques qui nous sont parvenues débordent de couleurs, de richesses dans le dessin.

Sado-masochism and stolen shoe polish: Bacon's legacy revisited Francis Bacon's was a life lived to extravagant extremes. His drunken excesses in the Colony Room Club in Soho; his carnivalesque, ruinous generosity; the formative occasion on which, as a teenager, his father found him wearing his mother's underwear and beat the living daylights out of him – all this is almost as celebrated as his riotously tortured paintings. But now the art historian John Richardson, whose multi-volume life of Picasso has been called the best artist's biography ever written, and who knew Bacon from the 1940s, has argued that the best of Bacon's art stemmed precisely from his sadomasochistic sexual relationships at their most intense, which also led directly to the death of at least one of his lovers. It was that early beating by his father to which Bacon attributed his taste for masochism – desires that were played out in adulthood with his lover Peter Lacy. Richardson describes the directness of the relationship between Bacon's desires and his artistic output.