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By Iain Pears

Shrewdpermanent Italian art-history crime sequence that includes student and broker Jonathon Argyll, from the writer of the best-selling masterpiece 'An example of the Fingerpost'.

The toughest a part of being an artwork broker is having to promote the one you love works. For Jonathan Argyll, the discomfort is soothed whilst an American billionaire is of the same opinion to pay an enormous sum for a comparatively minor piece.

Arriving within the Californian sunshine wanting to gather his cheque, Jonathan bumps into one in all his much less scrupulous colleagues, and discovers he's not the American's in basic terms vendor. A bust of Pope Pius V is being smuggled out of Italy, and bother is following in its wake.

Within hours, Jonathan's billionaire is useless and either the smuggler and his bust have long gone lacking. considering issues can't get any worse, Jonathan demands assistance from the Italian paintings robbery Squad—and as a substitute reveals himself the killer's subsequent target...

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To begin with, the sparseness of the spaces in which the figures are placed underscores the voyeur’s obsession with observing the figure, where everything else is secondary, inconsequential; in other words, the voyeur is oblivious to everything but the figure. The object of one’s eyes is an all-consuming ‘objet du désir’ in a highly sexualized manner, consuming the viewer and eliminating any self-consciousness or self-awareness of surroundings. In Alfred Hitchcock’s Psycho (1960) Norman Bates looking upon Marion Crane in the shower sees nothing but her; for all intents and purposes, there is no room, no space, only the object itself – his eyes are locked on her.

In other words, Bacon’s work reveals that the self is a social construct. Whether this is intentional on Bacon’s part is dif ficult to ascertain since ‘selfhood’ is not part of the artist’s vocabulary when speaking of his work. Van Alphen, 1993: 114–19. Seeing and Seen: Acts of the Voyeur in the Works of Francis Bacon 41 isolate the figure, additionally undermining the definition of self, as Ernst van Alphen has argued (van Alphen, 1993: 114–19). For Bacon, painting appears to be more a ref lection of himself than anything or anyone else, and consequently the annihilation of the figure may be related in part to its becoming something of an autobiographical conveyance.

Francis Bacon: The logic of sensation. Translated by Daniel W. Smith. Minneapolis: University of Minnesota Press. , and F. Guattari, 1994. What is philosophy? Translated by H. Tomlinson and G. Burchell. New York: Columbia University Press. , 1999. Diagram Diaries. New York: Universe. , 2006. The Virtual Window: From Alberti to Microsoft. Cambridge, MA: MIT Press. , 1995. Space, Time, and Perversion: Essays on the politics of bodies. New York: Routledge. , 2008. Chaos, Territory, Art: Deleuze and the framing of the earth.

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