"The book presents a wide range of paintings (many of them rarely or never seen before) representing all of Bacon's major themes during the 1950s, analyses the significant developments in his art, and assesses the particular importance of ...
1950. –. 54. Where are you damn'd? In hell. How comes it then that thou art out of
hell? Why, this is hell, nor am I out of it. Christopher Marlowe, Dr Faustus, 1604 Francis Bacon entered the 1950s with much the same outlook and virtually the ...
Author: Michael Peppiatt
This book, a biography on Francis Bacon, is inspired by the friendship the author had with Bacon and based on records of the conversations that took place since 1963. The book forms the first comprehensive account of the artist's life and his work.
Notes 1 For detailed accounts of Bacon's stay in St Ives see Martin Harrison , In
Camera : Francis Bacon : Photography ... 182 7 Quoted Michael Peppiatt , Francis Bacon in the 1950s , exh cat , SCVA , 2006 , p.5 8 See in particular
Author: Ben Tufnell
Publisher: Tate Publishing(UK)
This book, that accompanies a Tate St Ives exhibition focusing on Bacon's art between 1957 and 1962, presents a number of the works he painted whilst in St Ives together with a selection of paintings and drawings made both shortly before and after this period. Bacon's concentration during this time on the solitary figure lying down, sleeping or walking, and his experimentation with brush strokes, colour, and chiaroscuro to create an illusion of a moulded form or face, is presented as a result of the important explorative time the painter spent in St Ives.
Margarita Cappock, Francis Bacon. CLOCKWISE FROM TOP Fig . 304 Drawing
in pencil ... The raised platform or dais is a recurrent motif in Bacon ' s paintings
from the early 1950s onwards . While the chair appears to be entirely empty , two
Author: Margarita Cappock
Publisher: Merrell Pub Limited
Francis Bacon (1909-1992) is widely regarded as one of the most significant post-war painters. From 1961, his studio at 7 Reece Mews, South Kensington, London, was both his home and his workplace, and, over time, the repository of thousands of items that were central to his art, the impetus for many of his most important paintings. The studio - with its extraordinarily rich contents untouched since Bacon's death - was donated in 1998 by John Edwards to Dublin City Gallery The Hugh Lane, where, after meticulous dismantling and reconstruction by archaeologists, conservators and curators, it is now on permanent display. The studio's deconstruction revealed some 7500 objects, among them numerous well-thumbed, folded and torn photographs, many depicting Bacon's friends and lovers; illustrated publications, including books and magazine articles on subjects as diverse as medicine, sport, wildlife and war; drawings, interventions and handwritten notes by Bacon; slashed canvases and his final, unfinished work; and a welter of artist's materials - the walls themselves are vivid with encrusted paint, mixed and tested by Bacon. In Francis Bacon's Studio, Margarita Cappock provides the first in-depth study of the studio, selecting key elements from the dense mass of objects Bacon accumulated and placing them succinctly within the context of the artist's life and practice. Profusely illustrated with unique material that has never previously been published, Francis Bacon's Studio makes an important contribution to Bacon studies, especially in relation to the last three decades of the artist's career. Drawing on artefacts that resonate with the energy of Bacon's work, this book offers unprecedented insights into the sources, inspiration and working methods of one of the giants of modern art.
Author: Gregory Salter (Art historian)Publish On: 2019
1 Michael Peppiatt, Francis Bacon in the 1950s (London: Yale University Press
and the Sainsbury Centre, UEA, 2006), 31. 2 Matthew Gale and Chris Stephens,
eds., Francis Bacon (London: Tate, 2008), 124. 3 David Sylvester, Looking Back
When Erica Brausen , a gallery owner , dealer , and friend of Bacon ' s ,
introduced them to his art in the 1950s , they could not resist buying a number of
paintings . Since their collecting practices were dictated by the limitations of their
Author: Alberto Giacometti
Category: Artists and models in art
This book shows the work of Alberto Giacometti and Francis Bacon which was inspired by Isabel Rawsthorne. Isabel herself was an artist who moved to Paris in the mid-1930s and both the artists had a unique and special relationship with Isabel at different times in their lives.
The Papal Portraits of 1953 Hugh Marlais Davies, Hugh Davies, Francis Bacon ...
This surrealist detail of the dangling tassel — like a fly Teddy Roosevelt annoying
the popes — becomes a staple in Bacon's subsequent work of the 1950s as ...
I DIDN ' T REALLY PAINT UNTIL I WAS OVER 30 " fig 9 rug designed by francis bacon , In 1933 Francis Bacon produced an extraordinary painting ... He
preferred to work in solitude and after the 1950s rarely invited anybody to sit for
15 , London : Stanley Paul , 1969 Bacon attended cricket matches with Eric Hall
in the 1950s . This book , and David Gower , With Time to Spare , 1980 , were
said to be catalysts for the cricket paraphernalia Bacon incorporated in seven of
Author: Martin Harrison
"In 1949 Francis Bacon found his subject - the human body - and from then on it remained his principal theme. But he did not paint from life. Instead he appropriated images from the mass media that he manipulated into his 'studies'. His paintings bore witness to the shattered psychology of the time and shot him to a prominence that hardly diminished over the next fifty years, and that continues to rise." "This book presents many of the 'working documents' about which Bacon was entirely secretive but which, it emerges, were integral to his creative process. Culled from thousands of pieces of original material found in his studio, including newspapers, magazines, books and photographs, these items have each been exhaustively and minutely researched, providing for the first time comprehensive details of the artist's sources. This base material - folded, torn, clipped and spattered with paint - underwent an alchemical transformation frond mundane matter into new images." "Nearly all previously unseen, these visually thrilling documents demonstrate Bacon's tactile, visceral relationship with his sources, and his unerring eye for seeking out visual stimulation in the most unexpected places. His paintings emerged from a dialogue between great art of the past and photographic imagery of the present: and, as a painter of the transient, his work also shared the pulse and flicker of his other significant inspiration, early cinema. His fascination with medium itself - the texture of paint, the quality of newsprint, the techniques of mechanical reproduction of both the still and moving image - throws light on the nature of Bacon's points of contact with the twentieth century."--BOOK JACKET.
Working on Paper Matthew Gale, Francis Bacon Tate Gallery. one of the artist ' s
... 22 The book also served as a mediator of his own experience on two trips
through southern Africa in the winter of 1950 – 1 and the spring of 1952 . With
Author: Matthew Gale
Francis Bacon, acknowledged as one of the most important painters of the figure in the second half of the twentieth century, was tenacious in keeping his working drawings secret. When asked, he simply denied making any - adding on one occasion: 'I often think I should.' More than forty such works on paper by Bacon, together with related archival papers, are now in the Tate Gallery collection. This catalogue, published to accompany their display, provides the first detailed examination of this unknown aspect of his output. Reasons for the artist's secrecy are suggested in David Sylvester's introductory essay. The sketches themselves are then discussed in depth by Matthew Gale, who considers their place in Bacon's output and traces their relationships with sources and completed paintings.
Sutherland gave Bacon endless recommendations without fearing his ingratitude
. The two artists spent a great deal of time together during the war and in the 1950s , sharing extended holidays in the South of France , on the Côte d ' Azur ...
Author: Christopher Domino
Publisher: Harry N Abrams Incorporated
A survey of the life and art of the twentieth-century British painter explains his surrealistic, disturbing treatment of the human face and figure, through photographs, Bacon's own statements, and a multitude of reproductions of his work. Original.
It should be noted that Peppiatt himself obviously has at least one letter from
Bacon , as he refers to one dated 5 December 1984 in n2 , p63 of his Francis Bacon in the 1950's . Other letters pop up from time to time . There are , for
example , a ...
120-1 , Dec 1949 - Jan 1950 , pp.419-23 Sam Hunter , " Francis Bacon : The
Anatomy of Horror , " Magazine of Art , Vol . ... 7 , No.7 , 25 Sep 1963 , pp.44-48
John Rothenstein and Ronald Alley , Francis Bacon : Catalogue Raisonne and ...
An Age of Violence Is Francis Bacon really the great outsider of modern painting
? ... This was followed in the 1950s by a brief but equally influential exploration of
Expressionism , taking the Arles paintings of Van Gogh as a starting point Thus ...
Author: Wieland Schmied
Publisher: Prestel Pub
Several years after his death, Francis Bacon's place in the pantheon of twentieth-century art seems more assured than ever. The violent intensity with which Bacon's paintings give expression to the existential angst of his fellow human beings is virtually without parallel in the history of art. The work of this self-styled maverick continues to be profoundly disturbing and to resist classification in conventional categories. Drawing on a lifetime's experience of studying twentieth-century art, and on his personal encounters with the artist, Wieland Schmied presents a comprehensive portrait of Bacon the painter. Bacon the man is by no means overlooked, but Schmied does not allow details of the artist's private life to deflect him from his central purpose: to distil the essence of Bacon's art from a formal analysis of his paintings and from an examination of the creative processes they embody. Bacon's subtle use of space, the fundamental significance of photography in the development of his imagery, his idiosyncratic painting technique, his place in twentieth-century art as a whole, the role of homosexuality and the other autobiographical dimensions to his oeuvre - searching discussion of all these aspects results in a refreshingly independent view of a major artist.
The Incomprehensible Human Being Francis Bacon ' s work was unique in 20th -
century art . ... he showed no interest in the abstract art that caused an
international furor in the 1950s and 1960s , even condemning some examples of
Author: Anna Maria Wieland
Publisher: Prestel Pub
This latest addition to Prestel's successful Living Art series offers a critical portrait of Francis Bacon, one of the world's most renowned contemporary artists, to reveal a conflicted man of prodigious talent. This accessible look at Bacon's life and art displays the many facets that make his career so intriguing. Filled with personal photographs, quotations from the artist, and beautiful reproductions of his bold, austere and often grotesque paintings, this volume introduces readers to the various themes surrounding Bacon's life. The book explores topics such as his distinctive artistic style, his tumultuous and troubled life, the critical reception of his work, and his views of humanity as exemplified in his art. Written as a journalistic essay and featuring an innovative layout, this book is a fascinating introduction for anyone interested in learning about this acclaimed artist and his riveting artworks. AUTHOR: Anna Maria Wieland is an art historian who lives in Munich. She ahs published works on Rubens, Warhol and Kahlo. ILLUSTRATIONS: 120 illustrations
99 Francis Bacon in the 1950s Michael Peppiatt During the 1950s Francis Bacon
created many of the most central and memorable images of his entire career .
Focusing for the first time on this key period , Michael Peppiattthe leading
1530–1750 KOVANIE IVA chino Francis Bacon in the 1950s Michael Peppiatt
Yale University Press , London , 2006 pp 212 ills 105 , col 84 b / w 21 h / b €
45.00 / £ 29.99 ISBN 0-300-12192 - X Brian Fallon This handsome book , in