For more information about the artwork, click! Bacon spent much of the next few years in Monte Carlo apart from short visits to London. Notable work 1944 1948 1949 Movement Figurative Francis Bacon 28 October 1909 — 28 April 1992 was an Irish-born British figurative painter known for his emotionally charged raw imagery, fixation on personal motifs, and heavy experimentation. In 1926, the family moved back to Straffan Lodge, His sister, Ianthe, twelve years his junior, recalled that Bacon made drawings of ladies with and long cigarette holders. Standing as the conceptual counterpoint to the tempestuous Screaming Popes of the decade prior, Seated Figure Red Cardinal presents not a terrified and tormented figure, but a humbled and silent one. I was perplexed about the level on which these paintings touched me: I could not formulate what the paintings were about, still less what aspect of them hurt me so deeply Alphen 1993. The estate moved its business to Faggionato Fine Arts in Europe and in New York. The deep red stain on Seated Figure is comparable in effect as it runs across the whole surface and over the top edge, and has been thoroughly absorbed by the canvas.
He was a prolific artist, but nonetheless spent many of the evenings of his middle age eating, drinking and gambling in London's Soho with like-minded friends such as Lucian Freud though the two fell out in the mid-1970s, for reasons neither ever explained , John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson, Tom Baker, and Jeffrey Bernard. Though the environment is quite domestic, there is still something rather unsettling about the painting. . They held Illicit parties, organised by Bacon with the assistance of Hall. While obviously the result of a very personal response by the artist to one picture, Bacon's violently distorted versions became for many icons of the alienation, disorientation and loss of spiritual and moral certitude experienced by post-war European society. This is so exemplified in Bacon's Seated Figure 1961 as the man's body is twisted in a way that appears to be contorted into an unrealistic shape, causing the viewer to cringe at the man's seemingly uncomfortable and unnatural position.
On the eve of Bacon's large retrospective at the Grand Palais in Paris 1971 , his long-time lover George Dyer committed suicide and this event left haunting echoes in ensuing paintings. Though he came to painting relatively late in life — he did not begin to paint seriously until his late 30s — crucifixion scenes can be found in his earliest works. The piece draws on classical Greek iconography and mythology, and makes reference to Prometheus, as several interpretations claim. Since his death his reputation and market value have grown steadily, and his work is among the most acclaimed, expensive and sought-after. For more information about the piece, click! His chronic asthma, which had plagued him all his life, had developed into a more severe respiratory condition and he could not talk or breathe very well. Many critics have cited Dyer's portraits as favourites, including and Lawrence Gowing.
In 2003, the estate was handed to a four-person trust based in. Before the gloomy, claustrophobic curtained backgrounds of his pictures there loom up in front of us beings whose presence is as disturbing, as unexpected, as fleeting, as commanding, as the presences of other people which in life confront and torment us with their portentous ambiguity Sylvester 2001. Leiris, Francis Bacon: Full Face and in Profile, Barcelona, 1983, no. Edinburgh: National Galleries of Scotland, 2005. She had been his closest companion, joining him in London on his return from Paris, and lived with him and Eric Alden at Queensberry Mews West, and later with him and Eric Hall at the cottage near Petersfield, in Monte Carlo and at Cromwell Place. His childhood, spent at Cannycourt, County Kildare, was blighted by asthma from which he suffered throughout his life. This compelled him to paint on the raw, unprimed side of his previous work, a practice he kept throughout his life.
In Seated Figure Red Cardinal , Bacon presents the image of the Pope as a tragic hero brought low by the external forces around him. Francis Bacon in Your Blood: A Memoir. And then I saw — or perhaps I even knew by then — the Potemkin film, and I attempted to use the Potemkin still as a basis on which I could also use these marvellous illustrations of the human mouth. 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. Although Dyer welcomed the attention the paintings brought him, he did not pretend to understand or even like them. This, coupled with his effeminate manner, upset his father.
Seated Figure 1961 depicts a man with a distorted face, heavily worked with brushstrokes, while the man's body and surroundings are both painted quite thinly with more rapid brushstrokes Tate 2007. The human scream was something that Bacon put on his figures whether they were clergy members, businessmen or politicians. This underlying sense of violence, barely restrained in the Seated Figure by the rigid suit and sanitised surroundings, perfectly embodies Bacon's belief that life is a violent experience. Though the figures in this triptych are barely recognizable as human, they nevertheless express a stark and raw expression of negative bodily energy. How much is my shipping costs? While obviously the result of a very personal response by the artist to one picture, Bacon's violently distorted versions became for many icons of the alienation, disorientation and loss of spiritual and moral certitude experienced by post-war European society. Bacon often depicted figures in more extreme situations, however, Seated Figure shows a person in a much more domestic setting, what appears to be a drawing room or a living room.
One was a relative of Winnie, another a breeder of , Harcourt-Smith, who was renowned for his manliness. Paris: Continuum International Publishing- Mansell, 2004. He took a studio at 17 Queensberry Mews West, , sharing the upper floor with Eric Alden — who became his first collector — and his childhood nanny, Jessie Lightfoot. His hands come together in front of his stomach. Images from this book in particular were to recur throughout Bacon's strongest paintings, as it was through these that he was best inspired to capture the anguish of existence, embodied in the 'cry'.
He often prepared these surfaces with a strong colour; thus, in 1959 a series of works was painted with a vivid green. Every item in the studio has a database entry. This silent figure painted in 1960 and cloaked in a rich blood-red crimson is a work that stand as an almost unique example from this seminal series. To supplement his income, he briefly tried his hand at domestic service, but although he enjoyed cooking, he became bored and resigned. Bacon's Seated Figure 1961 appears to be about the loss of the self, as Alphen 1993 notes in his book. From Chantilly, he went to an exhibition that inspired him to take up painting. Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete by burning the fragments, for example.