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</html>";s:4:"text";s:9432:"On small portrait canvasses he – or a friend – invariably cut out the head, and on the large canvasses the heads and sufficient of the main figurative elements to nullify the ‘image’ were excised. [5] His first three major triptychs were of crucifixion scenes, and all bear debt to Rubens's The Descent from the Cross, a work the normally reticent Bacon praised time and again to critics. The photography dates provide key data, therefore, in the chronology of paintings. ', 'Bacon not artist of his 'self-portrait'? Bacon destroyed many hundreds of paintings. [8] Bacon's acute sense of mortality and awareness of the fragility of life were heightened by Dyer's death. When asked about his tendency for sequential paintings, he explained how, in his mind, images revealed themselves "in series. 21 Oct. 1993-3 Dec. 1993, Ruth Taylor (text by France Borel and Chronology) and Linda Asher (text by Milan Kundera), ill. pp. This was a bleak period in his life, and though he was to live for another seventeen years, he felt that his life was almost over, "and all the people I've loved are dead". The so-called ‘slashed canvasses’ are not (with one, uble Portrait of Lucian Freud and Frank Auerbach, The question of ‘finish’, as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. Titles of paintings placed in inverted commas, for example ‘Figure with Cricket Pad’, c.1982 (82-09), were not applied by Bacon or by his gallerists, and are merely descriptive. [10] In its display caption for the Triptych–August 1972 the Tate gallery wrote, "What death has not already consumed seeps incontinently out of the figures as their shadows. (35.5 x 30.5 cm). His partial destructions were, typically, ambivalent, while as the creator of images that had ‘failed’, the connotations of violence in his taking a knife to them has clear psychological implications. Forty such canvasses, found in Bacon’s studio after he died, are now in Dublin City Gallery The Hugh Lane. [8], A number of characteristics bind the "Black triptychs" together. Paintings were usually sent to be photographed shortly after leaving Bacon’s studio. [1] It is the second most expensive Bacon ever sold, after Three Studies of Lucian Freud , being auctioned for US$86 million in 2008. Paintings with the suffix ‘D’ in the catalogue (for example 67-15D) are destroyed. Francis Bacon Triptych Sells for $84.6 Million Sotheby’s tests a new hybrid auction market with a work by the British painter — and socially-distanced bid-takers in three cities. After 1969, Bacon titled, signed and dated, on the reverse of the canvas, a majority of his paintings: before that date he only did so intermittently. This idea was drawn from a long tradition in art history, and was influenced strongly by Rembrandt's Side of beef and Chaim Soutine's Carcass of Beef.[5]. Canvas dimensions are given in imperial measurements, height preceding width, followed by metric; this conforms with the British manufacture of Bacon’s canvasses. The so-called ‘slashed canvasses’ are not (with one exception, Double Portrait of Lucian Freud and Frank Auerbach, 1964 (64-03)) included in this catalogue. Four canvasses removed from Bacon’s studio in 1978 appeared on the market in April 2007, and a further five, from a separate source, were sold in June 2007; six fragments of canvas which had been given in the 1950s to the Cambridge artist Lewis Todd, who painted on their primed sides, were auctioned in March 2013. Paintings are catalogued chronologically, under the year of their completion: thus a painting dated 1956-57 will be found in 1957. 2 of Lying Figure with Hypodermic Syringe, Study after Velázquez's Portrait of Pope Innocent X, Two Figures Lying on a Bed with Attendants, Triptych Inspired by the Oresteia of Aeschylus, Three Studies for a Portrait of George Dyer, Three Studies for a Portrait of Henrietta Moraes, Portrait of Isabel Rawsthorne Standing in a Street in Soho, https://en.wikipedia.org/w/index.php?title=Triptychs_by_Francis_Bacon&oldid=976165296, Creative Commons Attribution-ShareAlike License. Undocumented paintings, to which only approximate (circa) dates can be attached, are generally placed at the end of the year in which they are believed to have been painted; this rule is departed from when there is firm evidence that a painting was made at a specific date during a certain year (for example ‘Street Scene (with Car in Distance)’, 1984 (84-03). All rights reserved. An atheist and nihilist, the only ‘finish’ he recognised – and was haunted by – was death: to finish a painting was, perhaps, analogous to dying. in. [2], Two days before the opening of Bacon's retrospective at the Grand Palais, George Dyer, his former lover and principal model for the past seven years, took his own life in the hotel room they were sharing. On the opening day of his first Tate retrospective, he received word that his former lover Peter Lacey had died; news that had a devastating impact on him personally, and led him to produce his first triptych in the style to his heads of the mid-1950s, which had brought him to wider attention.[6]. He admitted during a 1974 interview that he thought the most difficult aspect of aging was "losing your friends". He moved past the triptych format, and from the late 40s to the late 50s produced works in series of up to 10 works, many of which rank amongst his finest, including his series of Popes, heads and men in suits. [a 2] It is known that at least five were destroyed, while two or three were likely split by dealers and sold as individual canvasses. After 1965 Bacon's focus generally narrowed, and he became obsessed with close-up portraiture. [2], As well as being Bacon's first large format triptych, Three Studies for a Crucifixion introduced the later and often repeated visual motif a human body turned inside out. It comprises three oil and pastel paintings on canvas. Francis Bacon: The Logic of Sensation', 'Demons and beefcake - the other side of Bacon / Sadomasochism and shoplifting sprees: Bacon's legacy revisited', 'Disturbed Ground: Francis Bacon, Traumatic Memory and the Gothic', 'Eerie resonance as Moore and Bacon capture a savage dignity', 'European painting in LA: A grab bag of well-worn issues', 'Ex-convict gets the spoils of Bacon's £30m legacy', 'Exhibition Reviews: Bacon/Picasso: Paris', 'Exhibition Reviews: Bacon; Hirst: London', 'Exhibition Reviews: Edinburgh and Luxembourg: The School of London', 'Exhibition Reviews: Francis Bacon: Norwich, Wisconsin and Buffalo', 'Exhibition Reviews: Francis Bacon: Vienna and Basel', 'Exhibition Reviews: London: Francis Bacon', 'Exhibition Reviews: New York: Winter painting exhibitions', 'Exhibition Reviews: Paris and Munich: Francis Bacon', 'Exhibition Reviews: São Paulo: The 1998 Bienal', 'Exhibitions: Francis Bacon: Dublin and Compton Verney', 'Explosion at San Giovanni in Laterano, Summer 1993: Notes for Francis Bacon's Figure with Meat', 'Farewell to flat, goodbye to square: London Commentary', 'For sale: portraits that Bacon wanted to dump in a skip', 'Francis Bacon - 'I Wanted to Paint the Scream'', 'Francis Bacon Archive, Tate Britain, London', 'Francis Bacon and Walter Sickert: 'images which unlock other images'', 'Francis Bacon and a vision of perfection', 'Francis Bacon and the Fortunes of Poetry', 'Francis Bacon and the tradition of art: Kunsthistorisches Museum, Vienna', 'Francis Bacon artwork sets auction record in NY', 'Francis Bacon at the Metropolitan Museum', 'Francis Bacon in Paris: figures in a room', 'Francis Bacon o la pintura en carne viva', 'Francis Bacon was a shock merchant, not a Nazi', 'Francis Bacon's correspondence with Sir Colin Anderson', 'Francis Bacon's plea for costs rejected', 'Francis Bacon, 82, Artist of the Macabre, Dies: Francis Bacon, Painter, Is Dead at 82', 'Francis Bacon, Louise Bourgeois and Franz Xaver Messerschmidt: Cheim and Read', 'Francis Bacon, confounder of art critics: Master of ebullient despair', 'Francis Bacon, the Papal Portraits of 1953', 'Francis Bacon/Henry Moore: Flesh and Bone, Ashmolean Museum', 'Francis Bacon: "De-Faced" Self-Portraits', 'Francis Bacon: A great, shocking, eccentric painter', 'Francis Bacon: Metropolitan Museum of Art', 'Francis Bacon: New transmutations of an autumn rose', 'Francis Bacon: Painting after Photography', 'Francis Bacon: South Kensington London 1982', 'Francis Bacon: Studies for a Portrait - Francis Bacon: Incunabula', 'Francis Bacon: contradicciones sublimadas', 'Francis Bacon: une bouche comme un Sahara', 'French and English art: New trends in painting and sculpture', 'From London: Some Anglo-Saxon intentions and responses', 'From the Archives: James Thrall Soby and Francis Bacon', 'Galleries: A natural talent for symbolism', 'Galleries: The thoughtful process of falling off a log', 'Gallery 'cheated Bacon out of tens of millions'', 'Gowrie’s 'outrageous' decision stops lottery cash for artist’s story: Bacon love film funding blocked', 'Handyman brings home the Bacon for art sleuths', 'Hanover Gallery: Mr. Francis Bacon's paintings', 'High prices for modern British pictures', 'His life was a commitment to excess. 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