Block supervisor mate nu patrak and dainik aheval

Block supervisor mate nu patrak and dainik aheval

Block supervisor mate nimayela sixako ni kamgiri darsavatu patrak click here

Supervisor no dainik aheval patrak click here

The upper creature may be a dog or a cat. Blood pours out of its mouth onto the head and body of its prey, a chimera rendered as owl-like with human facial characteristics. The prey unsuccessfully struggles to flee from its captor. The lower figure's human aspect is most notable in the details of its mouth and genitalia.^[2] Both figures are positioned in the centre foreground of the canvas, and are each mutilated and covered in blood, their physical discomfort contrasted against the flat, neutral background typical of Bacon's paintings. The figures exhibit many elements found in his early work, noticeably the expressive broad strokes set against the tightness of the flat, nondescript background.^[3] The link with the biblical Crucifixion is made through the raised arms of the lower creature, and the T-shaped cross.^[4]

The canvas is almost entirely stripped of colour. The T-shaped cross is dark blue; the two figures are painted in a mixture of white and black hues, the white tones dominating. Over half of the work is unpainted, essentially bare canvas. According to the theologian and curator Friedhelm Mennekes, the viewer's attention is thus solely focused "on the figure in agony on the cross, or more precisely: on the mouth, gaping and distorted in its cry".^[5]The body of the chimera, or hybrid bird,^[6] is rendered with light paint, and from it hang narrow red streams of paint, indicating the drips and spatter of blood. Bacon uses pentimenti to emphasise the hopelessness of the animal's death throes.^[3]

The painting contains the same white angular rails as the mid-grounds of his 1949 Head II, Head VI, and Study for Portrait of the same year. In this panel, the rails are positioned just below the area where the horizontal and vertical bars of the cross intersect. The rail begins with a diagonal line which intersects the chimera at what appears to be the creature's shoulder.^[3] The horizontal angular geometrical shape is sketched in white and grey in the mid-ground, and represents an early form of a spatial device Bacon was to develop and perfect during the 1950s, when it effectively became a cage used to frame the anguished figures portrayed in Bacon's foregrounds. In the mid-ground, the artist has sketched a street scene, which features walking stick figures and cars.^[7] The pedestrians appear oblivious to the slaughter before them