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This work, not having a strictly scientific nature as other better-known works, has been reputed among Bacon's literary works. However, two of the chapters, "Cupid; or the Atom", and "Proteus; or Matter" may be considered part of Bacon's scientific philosophy. Bacon describes in "Cupid" his vision of the nature of the atom and of matter itself.
Francis Bacon, 1st Viscount St Alban, [a] 1st Baron Verulam, PC (/ ˈ b eɪ k ən /; [5] 22 January 1561 – 9 April 1626) was an English philosopher and statesman who served as Attorney General and Lord Chancellor of England under King James I.
Portrait of Francis Bacon, Viscount St Alban, by John Vanderbank, circa 1731, after a portrait by an unknown artist (circa 1618). This is a complete chronological bibliography of Francis Bacon . Many of Bacon's writings were only published after his death in 1626.
Triptych November 1981 – January 1982 (left panel) (Oil, pastel and transfer lettering on canvas, 198 x 147.5 cm, Private collection, the Estate of Francis Bacon) [75] 1982. Three Studies for Portrait (Mick Jagger) (Oil and pastel on canvas, each panel 35.5 x 30.5 cm (14 x 12 in), Private collection, New York City) (small triptych) [76] 1983
Three Figures in a Room is a 1964 oil-on-canvas triptych painting by British artist Francis Bacon. Each panel measures 198 × 147 centimetres (78 × 58 in) and shows a separate view of his lover George Dyer, whom Bacon first met in 1963. It is the first of Bacon's works to feature Dyer, a model to whom he returned repeatedly in his paintings.
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In contrast to most of Bacon's work, this background references contemporary art, drawing on the stillness of Barnett Newman's Voice (1950), while the elegance of the figures echoes Henri Matisse's Music. [1] While Bacon's earlier work often hid the figures behind veils or other concealing devices, the 1985 triptych leaves nothing hidden.
Head III is an oil painting by Francis Bacon, one of series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London.As with the other six paintings in the series, it focuses on the disembodied head of male figure, who looks out with a penetrating gaze, but is fixed against an isolating, flat, nondescript background, while also enfolded by hazy horizontal ...