', 'Bacon painting settles £680,000 tax demand', 'Bacon papal portrait sells for record £14m', 'Bacon record tops £3.9m on a British night out', 'Bacon wanted to bin these 'bits and bobs' - last night they sold for £1.1m', 'Bacon's bleak look at the business of growing old', 'Bacon's rare portraits of female lover go to auction', 'Bacon's works on despair fetch six figures', 'Bacon, White, de Maistre and a reds-topped desk', 'Beaux Arts Gallery: studies of movement with Mr. Wirth-Miller', 'Best of British Bacon in Russian art show', 'Books: Interviews with Francis Bacon 1962-1979', 'Bring Bacon home: The art world continues to neglect our native genius', 'Brushes with the soldiery of the canvas', 'Classic Bacon: Triptych could fetch record £35m', 'Current and Forthcoming Exhibitions: London', 'Current and Forthcoming Exhibitions: Switzerland', 'Current shows and comments: "If winter comes..."', 'Current shows and comments: A bit of chiffon', 'Current shows and comments: On the significance of a word', 'Current shows and comments: The Dark is Light Enough: Francis Bacon at the Marlborough', 'Current shows and comments: The academic challenge', 'Deleuze, Gilles. Francis Bacon [The butcher's meat: Francis Bacon], 인간의 피냄새가 내 눈을 떠나지 않는다: 프랜시스 베이컨과의 대담 [Conversations with Francis Bacon]. Francis Bacon (Dublin, 28 oktober 1909 – Madrid, 28 april 1992) was een Iers-Britse expressionistische kunstschilder.Hij maakte portretten van personen, waarbij het gezicht of lichaam misvormd was om een betere indruk van hun psychische en emotionele gesteldheid te geven. March 2020. In my opinion “Lying Figure” is a very fine example of Bacon’s work.’. Three studies for a Self-portrait, 1981. Francis Bacon's virtuosity: Van Gogh translated', 'National art treasures lost for lack of money', 'New Work by Henry Moore and Francis Bacon', 'New acquisition of six unfinished paintings by Francis Bacon', 'New acquisitions at the Tate: old and recent works', 'News and Views from New York: New York I at the Alan Gallery', 'No friends, by request, at Bacon's farewell', 'No signs of a City crash crisis as Bacon brings home £26m record', 'Notes from Paris and London: Bacon and Wols at the Hanover Gallery', 'Obituary: Francis Bacon: Genius formed in the blackness of the Blitz', 'Obituary: Isabel Lambert: More than muse material', 'Obituary: Mr. Peter Watson: Modern patron of art', 'PORTRAIT OF THE WEEK NO 96: BACON'S STUDY FOR PORTRAIT II - AFTER THE LIFE MASK OF WILLIAM BLAKE (1955)', 'Painter busting with exhilarated despair', 'Painting bought in 1953 may earn students £700,000', 'Painting pictures in Soho and Greenwich Village', 'Passages to Paint: Francis Bacon's Studio Practice', 'Picture choice: A direct hit on the nerves', 'Pictures by a Sunday painter turn out to be a valuable slice of Bacon', 'Power of three: Bacon triptych emerges from Tehran storeroom', 'Rare chance to own a Francis Bacon original - from the artist's tufted period', 'Realism versus Realism in British Art of the 1950s', 'Record £26,000 paid for a Francis Bacon', 'Regarding the pain: noise in the art of Francis Bacon', 'Regrets: Francis Bacon, Lucien Freud and Jasper Johns', 'Relative presences: A roomful of Bacon at the Tate', 'Rich pickings: Friend who inherited Bacon's £11m fortune went on 11-year spending spree', 'Rina Arya: Francis Bacon. It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side. This precept has been adhered to in the present catalogue. It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. Michael Peppiatt, Francis Bacon: Studies for a Portrait: Essays and Interviews (New Haven and London: Yale University Press, 2008). Washington: The Smithsonian Institution, London: Thames & Hudson, 'Visions of a Violent Century In Francis Bacon's Paintings: Bacon's Visions of a Violent, Disjointed Century', Venice: Museo Correr 2007. Francis Bacon', 'Art Stars and Plasters on the Wounds: Why Have There Been No Great Irish Artists? In the past most of Bacon’s paintings have been described as ‘oil on canvas’. Paintings were usually sent to be photographed shortly after leaving Bacon’s studio. Tacou 32 (. Painting begun in Paris, finished in London, © The Estate of Francis Bacon. 29 Jan. 2007-15 Apr. From Il Ponte, Francis Bacon, Portrait of Michel Leiris, from Requiem pour la Fin des Temps (1976), Etching and aquatint in colours on Arches paper, 67.3 ×… Saved from thewhispergallery.com. 14 x 12 in. with the Sainsbury Centre for Visual Arts, Francis Bacon: Studies for a Portrait: Essays and Interviews, New Haven and London: Yale University Press, London: Tate Britain Tacou 34. Sep 27, 2017 - FRANCIS BACON Study for Portrait (Michel Leiris), 1978 Medium Oil and aerosol paint on canvas Dimensions 14 x 12 in. Francis Bacon, Study from the Human Body, 1987. © The Estate of Francis Bacon. pp. After 1969, Bacon titled, signed and dated, on the reverse of the canvas, a majority of his paintings: before that date he only did so intermittently. Francis Bacon: The Logic of Sensation', 'Demons and beefcake - the other side of Bacon / Sadomasochism and shoplifting sprees: Bacon's legacy revisited', 'Disturbed Ground: Francis Bacon, Traumatic Memory and the Gothic', 'Eerie resonance as Moore and Bacon capture a savage dignity', 'European painting in LA: A grab bag of well-worn issues', 'Ex-convict gets the spoils of Bacon's £30m legacy', 'Exhibition Reviews: Bacon/Picasso: Paris', 'Exhibition Reviews: Bacon; Hirst: London', 'Exhibition Reviews: Edinburgh and Luxembourg: The School of London', 'Exhibition Reviews: Francis Bacon: Norwich, Wisconsin and Buffalo', 'Exhibition Reviews: Francis Bacon: Vienna and Basel', 'Exhibition Reviews: London: Francis Bacon', 'Exhibition Reviews: New York: Winter painting exhibitions', 'Exhibition Reviews: Paris and Munich: Francis Bacon', 'Exhibition Reviews: São Paulo: The 1998 Bienal', 'Exhibitions: Francis Bacon: Dublin and Compton Verney', 'Explosion at San Giovanni in Laterano, Summer 1993: Notes for Francis Bacon's Figure with Meat', 'Farewell to flat, goodbye to square: London Commentary', 'For sale: portraits that Bacon wanted to dump in a skip', 'Francis Bacon - 'I Wanted to Paint the Scream'', 'Francis Bacon Archive, Tate Britain, London', 'Francis Bacon and Walter Sickert: 'images which unlock other images'', 'Francis Bacon and a vision of perfection', 'Francis Bacon and the Fortunes of Poetry', 'Francis Bacon and the tradition of art: Kunsthistorisches Museum, Vienna', 'Francis Bacon artwork sets auction record in NY', 'Francis Bacon at the Metropolitan Museum', 'Francis Bacon in Paris: figures in a room', 'Francis Bacon o la pintura en carne viva', 'Francis Bacon was a shock merchant, not a Nazi', 'Francis Bacon's correspondence with Sir Colin Anderson', 'Francis Bacon's plea for costs rejected', 'Francis Bacon, 82, Artist of the Macabre, Dies: Francis Bacon, Painter, Is Dead at 82', 'Francis Bacon, Louise Bourgeois and Franz Xaver Messerschmidt: Cheim and Read', 'Francis Bacon, confounder of art critics: Master of ebullient despair', 'Francis Bacon, the Papal Portraits of 1953', 'Francis Bacon/Henry Moore: Flesh and Bone, Ashmolean Museum', 'Francis Bacon: "De-Faced" Self-Portraits', 'Francis Bacon: A great, shocking, eccentric painter', 'Francis Bacon: Metropolitan Museum of Art', 'Francis Bacon: New transmutations of an autumn rose', 'Francis Bacon: Painting after Photography', 'Francis Bacon: South Kensington London 1982', 'Francis Bacon: Studies for a Portrait - Francis Bacon: Incunabula', 'Francis Bacon: contradicciones sublimadas', 'Francis Bacon: une bouche comme un Sahara', 'French and English art: New trends in painting and sculpture', 'From London: Some Anglo-Saxon intentions and responses', 'From the Archives: James Thrall Soby and Francis Bacon', 'Galleries: A natural talent for symbolism', 'Galleries: The thoughtful process of falling off a log', 'Gallery 'cheated Bacon out of tens of millions'', 'Gowrie’s 'outrageous' decision stops lottery cash for artist’s story: Bacon love film funding blocked', 'Handyman brings home the Bacon for art sleuths', 'Hanover Gallery: Mr. Francis Bacon's paintings', 'High prices for modern British pictures', 'His life was a commitment to excess. Etude pour une corrida [1972] Francis Bacon. 2005, Edinburgh: Scottish National Gallery of Modern Art Paintings were usually sent to be photographed shortly after leaving Bacon’s studio. Centre Pompidou, Paris. Oil, aerosol, and dust on canvas. Francis Bacon. Margarita Cappock published them in 2005 under the heading ‘Destroyed Canvasses’, which raised questions regarding Bacon’s intentions with the destructions. Francis Bacon, 'Portrait of Michel Leiris 1976' (1978) Rhodes … The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. Francis Bacon. On 30 July 1996 David Sylvester wrote to the then owner of ‘Lying Figure’, c.1953 (53-21), who was disappointed he had not included it in the Bacon retrospective at the Centre Pompidou, Paris. Bacon's new paintings: African animals', 'Mr. It has been our aim to record all such details, but there are almost certainly omissions. So where has it all gone? The so-called ‘slashed canvasses’ are not (with one exception, Double Portrait of Lucian Freud and Frank Auerbach, 1964 (64-03)) included in this catalogue. In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon’s indifference – or hostility – towards his pre-1944 œuvre). The following ‘Notes for readers’ are extracted from the catalogue raisonné (Vol.1, p.102 and 103) and elaborate on the methodology and thinking behind the compilation and presentation of some data, such as titles, dates and media. Francis Bacon. Show Sizes Sizes available. Available for sale from Rhodes, Francis Bacon, Portrait of Michel Leiris 1976 (1978), Etching, 67 × 52 cm Titles of paintings placed in inverted commas, for example ‘Figure with Cricket Pad’, c.1982 (82-09), were not applied by Bacon or by his gallerists, and are merely descriptive. The question of ‘finish’, as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. 22 May. Melville doubted that Bacon gave any of his paintings the title ‘Pope’, and pointed out that when he was working for Erica Brausen at the Hanover Gallery, ‘we used to call them “cardinals” rather than “popes” in the presence of visitors, to make sure that no one would be offended.’ Melville predicted that all the paintings in the 1964 catalogue would be thenceforth known by the titles assigned to them by Ronald Alley. These compromise categories have been jettisoned in the present catalogue, and the extant paintings placed where they occur in the chronology. On the other hand, Bacon was a close friend with writer Michel Leiris, who worked as the French translator of the painter’s interviews with David Sylvester, and was the only one with whom Bacon thought of producing an illustrated publication (Miroir de la Tauromachie published in 1990). Etude pour une corrida ... Francis Bacon : Portraits and Heads : Edinburgh, Scottish National Gallery of Modern Art, 2005 // Hamburg, Kunsthalle, 2005-2006 (cat. Published by Georges Visat, Paris, with blindstamp. 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