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Head V is a 1949 painting by Irish-born British artist Francis Bacon, one of the series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London. It measures 82 by 66 centimetres (32 in × 26 in) and is held in a private collection. The painting is part of a series of six works from the late 1940s depicting heads.
For instance, another recent study found that reducing processed meat intake by 30% or about 8.7 grams per day — meaning eating at least five fewer slices of bacon per week — over 10 years ...
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 ...
Head VI was the first of Bacon's paintings to reference Velázquez, whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of "screaming popes", [2] a loose series of which there are around 45 surviving individual works. [3] Head VI contains many motifs that were to reappear in Bacon's work. The hanging ...
If your whole eye has gone red, learn about the causes of bloodshot eyes and how to fix them. Weirdly enough, a red spot on eye might have a cause totally unrelated to your eyes: sneezing or coughing.
Head IV, sometimes subtitled Man with a Monkey, is a 1949 painting by Irish-born British artist Francis Bacon, one of series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London. It measures 82 by 66 centimetres (32 in × 26 in) and is held in a private collection.
Portrait of Michel Leiris (sometimes Study for Portrait of Michel Leiris) is a 1976 oil-on-canvas-panel painting by the Irish-born British artist Francis Bacon.It is the first of two portraits Bacon made of his close friend, the French surrealist writer and anthropologist Michel Leiris; [1] the second followed in 1978.
Bacon is ill-at-ease in each panel, seated cross-legged with his hands around his knees, though in the centre panel, one arm rests on the chair arm. The descriptions are based on passport photographs; he never used a mirror for these works, claiming that he hated the sight of his own face, especially close up, and more as he got older.