On top of this sea of midnight blue, Bacon has applied a nude tone, which nevertheless betrays its under-painting: dark brushstrokes rising up like shadows from the depths and creeping around each painterly threshold. As with most of these works, the heads, which are slightly smaller than life-sized, are confined in tightly constricted spaces, against depth-less and undefined backgrounds. Across its three panels, Bacon records with his characteristic verve and painterly flourishes the lithe figure of Edwards dressed in a simple outfit of a white shirt and grey pants. It has revealed the sources of his imagery and examined his work in the context of 'European high culture'. The work can be viewed as a penetrating self-examinations undertaken in the aftermath of the , and as one of a series of inward looking self-portraits completed during the 1970s.
Scroll down, and find out what are the most expensive Francis Bacon paintings at auctions! Another book that the artist referred to for some of his more tortuous poses was Clark's 'Positioning in Radiography'. Hieronymus Bosch made apocalyptic images where humanity en masse was condemned, but Bacon takes the traditionally edifying form of portraiture and slashes it. The work was meant to shock and was consequently met with wide criticism for its horrific imagery. Ultimately ill fated, the new relationship nevertheless reinvigorated the artist, who had been left deeply affected by the loss of his great love, Peter Lacy in Tangiers two years earlier. Thus his self-portraits gave a rare insight to his inner life at this time.
Often returning to his own image, Bacon frequently carried out small canvases of his head. After Dyer's suicide he largely distanced himself from this circle, and while his social life was still active and his passion for gambling and drinking continued, he settled into a platonic and somewhat fatherly relationship with his eventual heir, John Edwards. It marked the beginning of a new way in which the artist saw the world around him: the space, the light, the trees. Francis Bacon: Portraits and Heads Scottish National Gallery of Modern Art, Edinburgh 4 June-4 September 2005 Hamburger Kunsthalle, Hamburg 14 October 2005-15 January 2006 The loss of faith in humanity in the late 1940s was such that the human image in art became increasingly difficult to portray. I just squeeze it into my hand and throw it on. He used the sequential photographs of Eadweard Muybridge, 'The Human Figure in Motion' 1887.
His work was truly shocking: Bacon was a very overt atheist. He often came into violent conflict with his intolerant and authoritarian father who was a horse trainer and major in the British army. Maybe this seems irrelevant, but you only have to visit an Old Master painting collection - such as the Doria Pamphilj palace, in Rome, where the Velázquez portrait of Pope Innocent X that obsessed Bacon can be found - to see that oil painting and religion are intimates. It represents one of only twelve, floor-length self-portraits ever to be realised by Francis Bacon, four of which are now held in international museum collections including: Modern Art Museum of Fort Worth, Texas, Hirshhorn Museum and Sculpture Garden, Washington, National Museum Wales, Cardiff and Von der Heydt-Museum, Wuppertal. For more information about the sale, click! The man appears to be screaming directly at a viewer, his mouth wide open and his teeth exposed. The colors become the protagonists themselves, deprived of rural workers or any other element that would disrupt the composition. Experts knew of the existence of the works, but had no idea who had bought the paintings after Bacon finished them.
Provenance Marlborough Fine Art, Ltd. Deeply contorted, Bacon's piercing eyes, fleshy lips and rounded jaw are still instantly recognisable, while the lean, sculpted limbs and lithe serpentine of the body is unmistakably Lucian Freud. From the mid-1960s he mainly produced portraits of friends and drinking companions, either as single or triptych panels. In Study for Self-Portrait Bacon grasps beneath the veneer, violating the quintessence of the human appearance. Gowing, 'The Irrefutable Image', Francis Bacon: Recent Paintings, exh. In the late 1990s a number of major works, previously assumed destroyed, including early 1950s popes and 1960s portraits, reemerged to set record prices at auction.
The shirt that clothes the torso is rendered in rough gestures of pure white, which leave patches of raw canvas to shine through like naked flesh. It was selected by Andrea Rose, Director of Visual Arts at the British Council; Richard Calvocoressi, Director of the Scottish National Gallery of Modern Art; and Christoph Heinrich, Chief Curator of Contemporary Art at the Hamburger Kunsthalle. Untitled New York City are predominantly grey and explore the repetition of shapes in a way that looks like doodling, the technique of drawing line. Professionally, Bacon was receiving great approbation from a public that now saw him less the maverick, than a master of figurative painting. Bacon considered that those who found his portraits shocking or offensive, were themselves, cocooned in fantasy, in a world unable to confront uncomfortable truths. Deakin's now renowned black and white photographs became the basis for the majority of Bacon's portraits throughout the sixties, capturing not only Lucian Freud, but also subjects including George Dyer, Isabel Rawsthorne, Peter Lacy, Muriel Belcher and Henrietta Moraes. Having painstakingly established the coloured background and the contours of the figure, Bacon rapidly established the face as if it were 'his own nervous system projected onto canvas' F.
The rapid brushstrokes, confidently undertaken in a matter of seconds suggest a sense of movement, as if the head were turning from left to right. The mirror resembles a painting or even a television screen - art as performance, communication in various forms. Calvocoressi lists Michelangelo, Velázquez, Rembrandt, Ingres, Degas, Van Gogh and Picasso as the artists Bacon appropriated and assimilated. Bacon used this form of display for two reasons. At the end of 1963 Bacon also formed a close attachment to George Dyer, the ill-fated yet remarkably charismatic Eastender who inspired much of the artist's greatest work. Many details are included, revealing for the first time the varied textures of Bacon's paint surface.
The smooth curves of the calf and trouser leg are reflected in the fluid swathes of paint used to capture the face. For Freud, the decade, which elapsed between their first acquaintance in the 1950s and the 1960s, saw him rapidly transform his technique: from a smooth, Ingriste appreciation of contour and line, to the rich, impasto modulation of paint that was to become his hallmark. With these powerful effacements, Bacon explores what he once described as the fine 'precipice' between abstraction and figuration, replacing 'likeness' with what he would later describe as the 'brutality of fact'. In a televised interview with Gavin Miller in 1971, he went on to elaborate, 'how can you cut your flesh open and join it with the other person? And I sometimes think, when people say my work looks violent, that perhaps I have from time to time been able to clear away one or two of the veils or screens. Sylvester, The Brutality of Fact, Interviews with Francis Bacon, London, 1987, p.
Dr Janet McKenzie References 1. Three Studies for a Self-Portrait is an oil on canvas painting by the Irish born English artist. Isolated within the confines of a dark ground, Bacon would paint his face with characteristic and unrelenting fervour, sweeping across the canvas and subverting all expectations associated with the genre. The triptych format allows Bacon to show three aspects of his face: the central portrait viewed face-on, and with slight three quarter views to either side, similar to a police. His output can be broadly described as sequences or variations on a single motif; beginning with the 1930s Picasso-informed Furies, moving on to the 1940s male heads isolated in rooms or geometric structures, the 1950s screaming popes, and the mid-to-late 1950s animals and lone figures, the 1960s portraits of friends, the nihilistic 1970s self-portraits, and the cooler more technical 1980s late works. Passionate about art, frequent visitor of exhibitions, Widewalls photography specialist.
He is the father figure, who gave me the wish to paint………. After irreconcilable differences over his sexuality, he left home at the age of sixteen to live with an uncle in Berlin. This was the first painting in which Bacon incorporated sheets of paper in the foreground, and in this instance their blankness is both deeply poignant and an essential element in the composition. Bacon never painted from life, preferring instead to use the still photographic image; in Study for Self-Portrait, these elements are plucked and fused from John Deakin's renowned photo shoot of both men undertaken in 1964. Francis Bacon's tormented self-images, his brutal portrayals of friends and fellow artists, and his deformations and stylistic distortions of classicism have broken the mould of portraiture; no other painter of the twentieth century has so drastically overturned the genre. Feaver, 'Beyond Feeling', Lucian Freud, exh.