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Francis Bacon: Human Presence contains enough variety of works in its climactic sections to account for the stronger and weaker aspects of the later Bacon, while veering thankfully towards the former.
Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his raw, unsettling imagery. Focusing on the human form, his subjects included crucifixions , portraits of popes , self-portraits, and portraits of close friends, with abstracted figures sometimes isolated in geometrical structures.
Sir 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.
Study for a Self-Portrait—Triptych, 1985–86 is a triptych painted between 1985 and 1986 by the Irish-born English artist Francis Bacon. It is a brutally honest examination of the effect of age and time on the human body and spirit and was painted in the aftermath of the deaths of many of his close friends.
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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The Novum Organum, fully Novum Organum, sive Indicia Vera de Interpretatione Naturae ("New organon, or true directions concerning the interpretation of nature") or Instaurationis Magnae, Pars II ("Part II of The Great Instauration"), is a philosophical work by Francis Bacon, written in Latin and published in 1620.
Bacon did not [1] realise his original intention to paint a large crucifixion scene and place the figures at the foot of the cross. [ 2 ] The Three Studies are generally considered Bacon's first mature piece; [ 3 ] he regarded his works before the triptych as irrelevant, and throughout his life tried to suppress their appearance on the art market.