The article explores the power of art, emphasizing the contrast between lifeless and vibrant works. It focuses on Francis Bacon's striking portrait of Peter Lacy, displayed in a recreated atmospheric bar reminiscent of the original Colony Room. Notably, Jago Cooper, director of the Sainsbury Centre, suggests that art is alive and responsive, yearning for engagement. The portrait's dynamic presence and its connection to vibrant social contexts underscore its intensity, enhancing the viewer's experience even without the original work being present.
When a work of art fails to excite, interest or move me, the word that comes to mind is dead. Bad art is lifeless, good art is alive and great art is supervital.
The Sainsbury Centre has declared that all the artworks it owns are alive: Art is alive and animate, waiting to be communicated with by anyone with a soul.
Where would a living work of art want to go if it had a brief escape from the jail of the museum? It's a pretty good guess that a Bacon painting would choose to return to its creator's old haunt.
The burningly intense painting holds court at the centre of the room. You half-expect it to start dropping acid one-liners to the cackling delight of drunken ghosts.
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