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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.
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.
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.
Triptych 1987 (Oil on canvas, 198 x 147.5 cm (78 x 57 in), Private collection of the Estate of Francis Bacon, London) (large triptych) c.1988. Blood on Pavement (Oil on canvas, 198 cm × 147.5 cm, Private collection) [81] 1988. Portrait of John Edwards (Oil on canvas, 198 cm × 147.5 cm, Private collection of the Estate of Francis Bacon, London ...
Three Studies for a Self-Portrait is an oil-on-canvas triptych painting by the Irish-born English artist Francis Bacon. Two of paintings are signed and dated 1979, and the third signed and dated 1979–1980.
Figure with Meat is a 1954 painting by the Irish-born artist Francis Bacon.The figure is based on the Pope Innocent X portrait by Diego Velázquez; however, in the Bacon painting the Pope is shown as a gruesome figure and placed between two bisected halves of a cow.
[47] Writing for Apollo magazine, Herbert Furst recalled, "I, I must confess, was so shocked and disturbed by the Surrealism of Francis Bacon that I was glad to escape from this exhibition. Perhaps it was the red [sic] background that made me think of entrails , of an anatomy or a vivisection and feel squeamish."
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