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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.
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.
In the year 1621, Bacon suffered a public and political fall from grace resulting in political exile during the reign of King James I and was confined within the Tower of London for a few days. [7] Much of Bacon's work focused on British empiricism, scientific enquiry, philosophy, and history. [8]
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The triptych summarises themes explored in Bacon's previous work, including his examination of Picasso's biomorphs and his interpretations of the Crucifixion and the Greek Furies. Bacon did not [ 1 ] realise his original intention to paint a large crucifixion scene and place the figures at the foot of the cross.
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.