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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.
It is recorded as a toast dating to at least the nineteenth century, [1] though it is often mistakenly attributed to the Irish painter Francis Bacon [2] (1909–1992) or the American musician Tom Waits (born 1949). Other examples of its use include: "Mr. Jorrocks then called upon the company in succession for a toast, a song, or a sentiment.
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.
Study for Portrait II, 1955.Tate Britain, London. Study for Portrait II (subtitled after the Life Mask of William Blake) is a small 1955 oil-on-canvas painting by the Irish-born British figurative artist Francis Bacon, one of a series of six portraits completed after viewing that year the English poet, painter and printmaker William Blake's (b. 1757) life mask at the National Portrait Gallery ...
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. When the painting was first exhibited in 1945 it caused a sensation and established him as one of the foremost post-war painters.
The bleakness of the painting is informed by the artist's harsh nihilism and existentialist view of life. Bacon was raised as a Christian, but according to his friend and biographer Michael Peppiatt, when he found he could no longer believe he was "extremely disappointed and furious, and anybody with a scrap of religious belief ... he would go for them".
Here, Deleuze remarks in the final preface of Francis Bacon that Bacon's art is "of a very special violence." [4]: x In saying this, he analyses the content of Bacon's paintings set on fields of color with little visual depth that make "use of spectacles of horror, crucifixions, prostheses and mutilations, monsters." [6]