688:, remarking favourably on the progression between the two. While some found the inherent violence of the paintings distasteful, Brausen was a skilled publicist and turned the bad press into notoriety, and brought Bacon's work to national attention. Peppiatt notes that the exhibition showed Bacon no longer needed sensationalist material to make an impact, and was now capable of creating an intense emotional response through more subtle means, and had found a way of presenting the human condition in the way he had sought, by presenting his sitter "in a vestigial setting, a cage or a parted curtain ... the rest, the most essential, lay in the manipulation of the infinitely suggestive medium of oil paint". After the showing Bacon gradually became "less the outsider with an occasional image of horrifying brilliance and more a force to be reckoned with on the contemporary scene". His reputation and the value of his panels rose dramatically, and after the showing he was sought after by European, American and African collectors and galleries, commanding prices as high as ÂŁ400 for single works, unusual for a contemporary British artist of the time.
504:, Rome. Bacon cautiously avoided seeing the original, even when he spent three months in Rome in 1954. Critics speculate he was afraid of being disappointed, or thought that an intimate knowledge of the painting would dull his imagination. Yet his fascination was all-consuming, and he reproduced variants of it obsessively for almost two decades – an examination and homage described as "without parallel in the history of art". Bacon's approach differs from Velázquez's in a number of ways: both artists were expressive, yet Bacon's broad brush-strokes and freedom with paint contrast with Velázquez's tight and controlled treatment. He adapts Velázquez's positioning of the pope to place him above the viewer's point of view, elevating and distancing him. This was already a common technique in commercial, promotional photography but in Bacon's hands, art historian Weiland Schmied argues, the angle places the pope on a kind of stage for the viewer to coldly observe.
595:
452:
484:'s device to isolate and distance the sitter from the viewer; the black ground-paint is visible through the folds, making the separation all the more affecting. Bacon had already used similar forms in his Chicago panel, and they were to become a feature of his most acclaimed 1950s works, especially in his "screaming popes". He became fascinated with the veil or curtain as a motif in painting, and collected many reproductions of works by Titian and Degas in which it is employed. He had begun his career as an interior decorator and designer of furniture and rugs in the mid-1930s, and later said that he liked "rooms hung all round with just curtains hung in even folds". Veils or curtains appear in Bacon's earliest works, notably the 1949
330:
632:
539:. He believes the folds serve to "push the viewer back", creating a distance from the subject, an effect he sees as similar to the separation between an orchestra and setting; others view the folds as more closely resembling the bars of a prison. Sylvester describes them as an accentuation of background verticals into stripes that are made to appear as if they pass through the sitter. In his series of books "Interviews with Francis Bacon", he asked Bacon why he found the effect so poignant. The artist replied, "Well, it means that the sensation doesn't come straight out at you but slides slowly and gently through the gaps."
347:
edge of the glass case, falling just in front of the pope's face and partially covering his eyes. It is too indistinctly drawn to identify with certainty, but given the presence of similar objects in Bacon's later works, may be either the end of a hanging light switch or the tassel of a curtain; the hanging cord was to become a signature for the artist. Apart from its symbolic meaning, it has a compositional function, framing the painting with a further set of vertical lines. Such an object reappears most prominently in the centre panel of his 1973
283:
social being becomes the sum of its neuroses, which Bacon attempted to convey by reducing the subject to its bare-bones features: a mouth, ears, eyes, a jaw. According to
Russell, "the view out front ceases to be the only one, and our person is suddenly adrift, fragmented, and subject to strange mutation." Russell observed that while the depiction of figures in rooms is common through all eras of painting, the figures are always posed, and usually seemingly aware that they are being portrayed. This conceit is abandoned in Bacon's series.
616:
261:
something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
400:'s 1961 trial before a Jerusalem District Court, when he was held within a similar cage. Bacon strongly resisted literal comparisons though, and stated that he used the device so he could frame and "really see the image—for no other reason. I know it's been interpreted as being many other things." Other critics saw similarities between the glass case and the radio booths of late 1930s broadcasters who warned against the impending calamity. Denis Farr notes that Bacon was sympathetic to
574:
313:. It is exceptional in Bacon's oeuvre that works of their relative poor quality survive; he was ruthlessly self-critical and often slashed or abandoned canvasses before they were completed. When pressed again by Brausen in 1953 to produce works for a New York show that she had been publicising for a year, he was full of doubt and destroyed most of what he had been working on, including several other popes.
516:, which is built up through broad, thick, brush-strokes. The influence can be further seen in the gold-coloured ornaments on the back of the seat that extend on both sides of the figure. Art historian Armin Zweite describes the work as a mixture of reverence and subversion that pays tribute to Velázquez, while at the same time deconstructs his painting.
666:, both of which were highly regarded but viewed as sensationalist. The exhibition was a success, and marked his critical breakthrough. Until then, he had been highly regarded but capable of only occasional brilliance. While some found his images horrifying and unnerving, they wrote about him all the same, sealing his reputation as the
265:
387:
The glass cage might imply a vacuum that the figure's voice is unable to escape; as if it is screaming in silence. Rueful later in life, Bacon said that he had "wanted to paint the scream more than the horror. I think, if I had really thought about what causes somebody to really scream, it would have
507:
Although Bacon revered Velázquez's portrait, he did not try to reproduce the earlier painting. In interviews, he said that he saw flaws in Velázquez's work and that he viewed that social structure and order as, according to
Schmied, "obsolete and decayed". Bacon's approach was to elevate his subject
260:
casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into
174:
offered Bacon the opportunity of a solo show for the opening of her new
Hanover Gallery. He agreed, but had nothing in reserve to hang. In following years, Brausen became perhaps the most important of Bacon's early champions; she arranged this showing—his debut solo exhibition—publicised him widely
159:
Bacon's output is characterised by sequences of images. He told
Sylvester that his imagination was stimulated by sequences and that "images breed other images in me". His series were not always planned or painted in sequence; sometimes paintings are grouped for convenience but vary in execution and
207:
The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing
383:
landscape though I never succeeded in doing so." When Bragg asked why he thought he had failed, Bacon said, "It should be all much more colour, should have got more of the interior of the mouth, with all the colours of the interior of the mouth, but I didn't happen to get it." His interest in the
346:
The figure is identifiable as a pope from his clothing. It seems trapped and isolated within the outlines of an abstract three-dimensional glass cage. This framing device, described by
Sylvester as a "space-frame", was to feature heavily throughout the artist's career. A cord hangs from the upper
282:
The series marks Bacon's first attempt at depicting lone figures in rooms. For him, the key aspect was that it appeared that the subject felt isolated and unobserved, and had abandoned the need to present an outward face. He believed that under these circumstances all pretence falls away, and the
676:
wrote, "The recent paintings ... horrifying as they are, cannot be ignored. Technically they are superb, and the masterly handling of large areas of pearly grey, flushed with a sudden pink or green, only makes me regret the more that the artist's gift should have been brought to subjects so
558:
as a reaction against Velázquez, and a commentary on how the papacy is "obsolete and decayed", with a pope resistant to both modernisation and secularisation. To him, the figure seems to "resist the maltreatment of image and tries to halt the impending collapse of the established work order. He
178:
Already 40 years old, Bacon viewed the exhibition as his last chance and applied himself to the task with determination. Because he had destroyed all his output of the last three years, he had little choice but to present new works. He did not have a grand plan when he agreed to the show, but
189:
255:
Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in
70:. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void. But with an inverted
74:
is derived from the ambiguity of the pope's horrifying expression—whose distorted face either screams of untethered hatred towards the viewer or pleads for help from the glass cage—the question of what he is screaming about is left to the audience.
378:
asked Bacon about the still, and observed that in his earlier career the artist seemed preoccupied with the physicality of the human mouth. Bacon replied, "I had always thought that I would be able to make the mouth with all the beauty of a
889:
Those tasked with destroying canvases were not always loyal; in the late 1990s a number of major 1950s papal portraits and various sketches on paper resurfaced on the art market. See Hunter et al. for a catalogue of the paintings, and the
442:. It is difficult to untangle how these artists influenced and informed each other. What is notable is that Bacon continued to use the motif, with intervals until the end of his life. Sylvester suggests his finest example is the 1970
529:, and agrees with identification of pastels of Degas as a source. He believes Bacon borrowed from Degas the use of parallel heavy folds to create the illusion of what Degas described as "shuttering", as seen in the earlier artist's
93:
that were to reappear in Bacon's work. The hanging object, which may be a light switch or curtain tassel, can be found even in his late paintings. The geometric cage is a motif that appears as late as his 1985–86 masterpiece
353:, where it is clearly a dangling light bulb. For Bacon, these elements were intended to make the figure waver in and out of sight for the viewer, alluding to the fact that bulbs can be on or off, curtains open or closed.
316:
Brausen commissioned another showing to be held in 1950, for which Bacon painted three large popes modelled on Velázquez's portrait. The gallery advertised the show as "Francis Bacon: Three
Studies from the Painting of
2008:
1934:
2102:
1926:
1715:
136:
wrote that the "shock of the picture, when it was seen with a whole series of heads ... was indescribable. It was everything unpardonable. The paradoxical appearance at once of
22:
170:. Although he continued to paint, he was a ruthless self-critic, given to slashing canvases with blades, and no works survive from between 1947 and the winter of 1948. Gallerist
594:
185:
of the previous year, and executed five progressively stronger variants in the final weeks before the
November exhibition, completing the series barely in time for the opening.
512:
painting. Yet Velázquez's influence is apparent in many aspects of the painting. The sitter's pose closely echoes the original, as does the violet and white colouring of his
2110:
1723:
384:
mouth was further stimulated by a medical textbook of diseased oral cavities bought in a second-hand bookshop, which he kept in his studio and to which he often referred.
132:, later Bacon's biographer, at the time dismissed it as a cross between "an alligator shorn of its jaws and an accountant in pince-nez who has come to a bad end". In 1989
2083:
1656:
1841:
2185:
746:. Peppiatt believes that Bacon would have disapproved of such a showing with a work he considered one of the finest ever painted, but writes that two, including
563:'s figuration and handling of paint, especially in Picasso's 1930s works; and suggests that the white blobs around the pope's cape may be influenced by the 1913
631:
1894:
1267:
656:
116:
1731:
842:
Sordidness, Ambition in
Francis Bacon's Fiercest Portrayals: Display of England's master painter's works engenders the tension of transcendence and despair
2126:
96:
85:
haunted him throughout his career and inspired his series of "screaming popes", a loose series of which there are around 45 surviving individual works.
2067:
1615:
519:
Sylvester detects the influence of late works by Titian in other aspects, especially in the deep and rich colouring, and Velázquez's portrayals of
546:, but merely sought "an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false
404:
and referred in interviews to
Orwellian "shouting voices ... and trembling hands ... convey the harsh atmosphere of an interrogation."
342:, 1650. Although Bacon avoided seeing the original, it remained the painting that most affected him, and one to which he referred over and over.
2075:
1950:
197:, 1948. The first in the series and actually painted in 1948. This painting contains outlines of shoulders but they are collapsed. As in
2144:
2032:
1873:
783:
Although not all of Bacon's popes scream. Nor are they all after Velázquez, nor are they all enclosed or trapped. See
Sylvester, 40
1341:
2118:
236:
show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in
2177:
1564:
754:, "stood up to it, and even enhanced its authority as one of the most penetrating studies of human nature and human power".
1608:
584:
531:
460:
615:
2214:
451:
1633:
605:
573:
1918:
1546:
1532:
1518:
1501:
1484:
1467:
1450:
1436:
1422:
1408:
1394:
1264:
654:
When Bacon undertook the series late in 1948, he was something of a two-hit wonder. He had had success in 1944 with
164:. In the previous three years he had been unable to find a voice; the last surviving canvas from this period is his
2048:
542:
When asked why he was compelled to revisit the Velázquez so often, Bacon replied that he had nothing against popes
148:
described it as a seminal piece from Bacon's unusually productive 1949–50 period, and one of Bacon's finest popes.
508:
so he could knock him down again, thereby making a sly comment on the treatment of royalty in both Old Master and
2016:
1958:
1902:
1739:
1601:
321:
X by Velázquez", but in the end Bacon was dissatisfied with the works and destroyed them before the show opened.
1747:
525:
444:
416:
in the 1930s, and the two artists became friends in the 1960s. However, Giacometti had by 1949 used it only in
1216:
Bacon named the earlier artists in the titles of a number of his 1950s works, usually in variants of the form
329:
2040:
2024:
1755:
240:, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In
703:
in 1952. The Hayward has loaned it out a number of times since, including for major retrospectives at the
2161:
1989:
349:
841:
2224:
2149:
1885:
891:
434:
2219:
1664:
1472:
129:
559:
screams and grimaces, clutching at arms of his throne." Sylvester notes that Bacon was impressed by
1981:
1699:
699:
was first exhibited at the Hanover Gallery, London, in 1949. It was acquired by the Arts Council's
468:
The full-length golden curtain-like folds painted in heavy brush strokes are in part influenced by
1833:
160:
tone. The idea for the head series came after he returned penniless, late in 1948, from a stay in
2209:
1910:
220:
show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a
1624:
535:. Sylvester makes a further direct link between the folds and the transparent veil in Titian's
501:
496:
338:
66:
53:
114:. At the time, Bacon was a highly controversial but respected artist, best known for his 1944
1865:
1683:
1351:
1587:
1581:
1577:
1346:
29:
8:
2155:
1970:
370:
274:
90:
1707:
1648:
520:
413:
278:(1925). Bacon described this still from the silent film as a key catalyst for his work.
333:
249:
61:
1542:
1528:
1514:
1497:
1480:
1463:
1446:
1432:
1418:
1404:
1390:
846:
708:
361:
269:
1849:
1455:
715:
640:
509:
389:
57:
1857:
1506:
1489:
1271:
1129:
700:
662:
365:
166:
145:
133:
107:
82:
33:
1942:
397:
252:, while the focus has become the open mouth and the study of the human scream.
224:, though it is positioned much higher than would be expected in a human. Heads
50:
488:, always in portraits and always in front of, rather than behind, the figure.
2203:
1691:
560:
401:
171:
111:
81:
was the first of Bacon's paintings to reference Velázquez, whose portrait of
1124:
704:
672:
388:
made the scream ... more successful". The work evokes memories of the
380:
375:
46:
356:
His mouth is opened wide as if screaming, an expression Bacon took from a
305:
III, IV and V are usually considered as merely intermediate steps towards
110:
in London, in a showing organised by one of the artist's early champions,
1593:
469:
455:
425:
357:
144:
was indeed one of Bacon's most original strokes." Art critic and curator
264:
481:
417:
141:
56:, the last of six panels making up his "1949 Head" series. It shows a
420:
contexts before Bacon's adaption, and in turn influenced his use in
1790:
429:
245:
225:
137:
1798:
1782:
579:
547:
229:
221:
216:
199:
161:
21:
1806:
1774:
600:
473:
233:
210:
193:
181:
71:
188:
289:, completed late in 1948, is considered more successful than
1724:
Study for Portrait II (After the Life Mask of William Blake)
1276:
513:
257:
248:, the first indication in Bacon's work of the influence of
2084:
Portrait of Isabel Rawsthorne Standing in a Street in Soho
1927:
Triptych Inspired by T.S. Eliot's Poem "Sweeney Agonistes"
424:
of 1950. A similar two-dimensional construct is found in
2187:
Love Is the Devil: Study for a Portrait of Francis Bacon
722:
X portrait and hung it alongside four Bacon paintings;
1895:
Three Studies for Figures at the Base of a Crucifixion
657:
Three Studies for Figures at the Base of a Crucifixion
117:
Three Studies for Figures at the Base of a Crucifixion
1732:
Version No. 2 of Lying Figure with Hypodermic Syringe
412:
The so-called "space frame" had already been used by
1842:
Study after Velázquez's Portrait of Pope Innocent X
179:eventually found themes that interested him in his
1441:Hunter, Sam; Sylvester, David; Peppiatt, Michael.
1427:Gale, Matthew; Stephens, Chris; Harrison, Martin.
244:the figure has developed and is now shown wearing
175:and organised viewings for international buyers.
2201:
2068:Three Studies for a Portrait of Henrietta Moraes
2076:Three Studies for a Portrait of Muriel Belcher
1951:Triptych Inspired by the Oresteia of Aeschylus
1413:Farr, Dennis; Peppiatt, Michael; Yard, Sally.
1218:Study after Velázquez's Portrait of Innocent X
1609:
396:is often seen as prophesying photographs of
106:was first exhibited in November 1949 at the
2127:Study for a Self-Portrait—Triptych, 1985–86
2009:Three Studies for a Portrait of George Dyer
969:
967:
494:is closely modelled on Velázquez's c. 1650
293:. Although it is well-regarded critically,
214:(actually begun in the winter of 1948) and
203:, the upper head has dissolved into a void.
1935:Two Figures Lying on a Bed with Attendants
1623:
1616:
1602:
1133:. BBC documentary, first aired 9 June 1985
392:. The glass enclosure of his 1949 Chicago
368:massacre sequence in his 1925 silent film
1563:(exhibition catalogue). Washington, D.C:
1445:. New York: Tony Shafrazi Gallery, 1999.
850:, 9 November 1989. Retrieved 19 June 2013
28:, 1949. 93.2 Ă— 76.5 cm (36.7 Ă— 30.1 in),
2145:List of large triptychs by Francis Bacon
2033:Portrait of George Dyer and Lucian Freud
1874:Study of Red Pope 1962. 2nd version 1971
1280:, Issue 17, 2012. Retrieved 10 June 2014
1093:
1091:
964:
670:of post-war British art. The critic for
450:
438:, constructed three years after Bacon's
328:
263:
187:
128:drew a mixed reaction from art critics;
20:
1318:
1316:
1191:
1189:
1143:
1141:
1139:
993:
991:
981:
979:
930:
928:
926:
876:
874:
2202:
1590:on the official Francis Bacon website.
1494:Francis Bacon: Commitment and Conflict
1342:"Head VI, 1949. Bacon, Francis b.1909"
1288:
1286:
1241:
1239:
1237:
1227:
1225:
1203:
1201:
1118:
1081:
1079:
1077:
1058:
1056:
1054:
1017:
1015:
1005:
1003:
916:
914:
912:
902:
900:
2179:Francis Bacon: The Logic of Sensation
1597:
1565:Hirshhorn Museum and Sculpture Garden
1403:. London: Thames & Hudson, 2000.
1389:. New York: Cross River Press, 1986.
1177:
1100:
1088:
827:
825:
823:
821:
802:
800:
798:
649:
565:Woman in a Slip Seated in an Armchair
537:Portrait of Cardinal Filippo Archinto
478:Portrait of Cardinal Filippo Archinto
1313:
1186:
1168:
1136:
988:
976:
946:
937:
923:
871:
532:After the Bath, Woman drying herself
461:After the Bath, Woman Drying Herself
1541:. London: Thames and Hudson, 2006.
1513:. London: Thames and Hudson, 2000.
1443:Important Paintings From The Estate
1399:Dawson, Barbara; Sylvester, David.
1283:
1234:
1222:
1198:
1159:
1074:
1051:
1042:
1012:
1000:
909:
897:
768:
297:is seen as something of a creative
151:
13:
1553:
1525:Francis Bacon and the Loss of Self
1417:. New York: Harry N Abrams, 1999.
862:
853:
818:
795:
786:
360:he kept of the nurse screaming in
97:Study for a Self-Portrait—Triptych
14:
2236:
1716:Three Studies from the Human Head
1571:
1561:Francis Bacon: The Human Presence
1431:. New York: Skira Rizzoli, 2009.
906:Yard, in Farr; Peppiatt; Yard, 13
718:took on loan Velázquez's Innocent
1527:. London: Reaktion Books, 1992.
1462:. London: Westview Press, 1996.
630:
614:
593:
572:
2119:Three Studies for Self-Portrait
2103:Three Studies for Self Portrait
2017:Portrait of George Dyer Talking
1959:Second Version of Triptych 1944
1903:Three Studies for a Crucifixion
1740:Study for a Bullfight, Number 2
1366:
1334:
1325:
1304:
1295:
1257:
1248:
1210:
1150:
1109:
1065:
1033:
1024:
955:
883:
60:of a single figure, modeled on
1748:Three Studies of the Male Back
1415:Francis Bacon: A Retrospective
834:
809:
777:
526:Portrait of Philip IV in Fraga
445:Three Studies of the Male Back
324:
1:
2041:Three Studies of Lucian Freud
2025:Three Studies for George Dyer
1511:Looking back at Francis Bacon
757:
691:
407:
1477:Francis Bacon (World of Art)
1265:Francis Bacon: Back to Degas
660:and to a lesser extent with
7:
2162:Influences on Francis Bacon
1385:Davies, Hugh; Yard, Sally.
374:. In 1984, the broadcaster
10:
2241:
2215:Paintings by Francis Bacon
2150:Triptychs by Francis Bacon
1479:. New York: Norton, 1971.
1378:
707:, Paris, in 1971, and the
585:Portrait of Pope Julius II
208:and coming to terms with.
2170:
2137:
2094:
2059:
2049:Portrait of Michel Leiris
2000:
1969:
1884:
1825:
1766:
1675:
1665:Fragment of a Crucifixion
1640:
1631:
1496:. Munich: Prestel, 1996.
623:Portrait of Pope Paul III
606:Portrait of Pope Paul III
486:Study from the Human Body
16:Painting by Francis Bacon
1700:Study for Crouching Nude
1539:The Violence of the Real
762:
680:Most critics focused on
1990:Triptych, May–June 1973
1911:Three Figures in a Room
1657:Wound for a Crucifixion
1401:Francis Bacon in Dublin
1331:Quoted in Peppiatt, 130
350:Triptych, May–June 1973
1625:Francis Bacon (artist)
550:manner." Schmied sees
502:Doria Pamphilj Gallery
497:Portrait of Innocent X
465:
428:'s works, notably his
343:
339:Portrait of Innocent X
279:
204:
67:Portrait of Innocent X
47:oil-on-canvas painting
37:
1866:Study from Innocent X
1834:Study after Velázquez
1684:Figure in a Landscape
1174:Davies & Yard, 27
961:Davies & Yard, 19
639:Portrait of Cardinal
454:
332:
267:
191:
120:, which made him the
24:
1982:Triptych–August 1972
1537:Zweite, Armin (ed).
1460:Anatomy of an Enigma
1347:Arts Council England
472:but also similar to
394:Study for a Portrait
2156:The Black Triptychs
1567:, Smithsonian, 1989
1523:van Alphen, Ernst.
1127:. "Francis Bacon".
711:, Dublin, in 2000.
480:. Bacon adapts the
371:Battleship Potemkin
275:Battleship Potemkin
1756:Blood on the Floor
1559:Gowing, Lawrence.
1270:2015-04-04 at the
894:for works on paper
650:Critical reception
466:
414:Alberto Giacometti
344:
280:
205:
38:
2225:Heads in the arts
2197:
2196:
1634:List of paintings
1456:Peppiatt, Michael
1372:Peppiatt, 319–320
1263:Hammer, Martin. "
847:Los Angeles Times
714:In May 1996, the
709:Hugh Lane Gallery
362:Sergei Eisenstein
51:figurative artist
2232:
2220:Portraits of men
2138:Summary articles
2060:Female portraits
1850:Figure with Meat
1618:
1611:
1604:
1595:
1594:
1507:Sylvester, David
1490:Schmied, Wieland
1373:
1370:
1364:
1363:
1361:
1359:
1350:. Archived from
1338:
1332:
1329:
1323:
1320:
1311:
1308:
1302:
1299:
1293:
1290:
1281:
1261:
1255:
1254:Sylvester, 47–49
1252:
1246:
1243:
1232:
1229:
1220:
1214:
1208:
1205:
1196:
1193:
1184:
1181:
1175:
1172:
1166:
1163:
1157:
1154:
1148:
1145:
1134:
1122:
1116:
1113:
1107:
1104:
1098:
1095:
1086:
1083:
1072:
1069:
1063:
1060:
1049:
1046:
1040:
1037:
1031:
1028:
1022:
1019:
1010:
1007:
998:
995:
986:
983:
974:
971:
962:
959:
953:
950:
944:
941:
935:
932:
921:
918:
907:
904:
895:
887:
881:
878:
869:
866:
860:
857:
851:
840:Richard, Paul. "
838:
832:
829:
816:
813:
807:
804:
793:
790:
784:
781:
775:
772:
751:
735:
727:
721:
716:National Gallery
641:Filippo Archinto
634:
618:
597:
576:
555:
390:Second World War
320:
310:
124:of British art.
2240:
2239:
2235:
2234:
2233:
2231:
2230:
2229:
2200:
2199:
2198:
2193:
2166:
2133:
2090:
2055:
1996:
1972:Black Triptychs
1965:
1880:
1858:Untitled (Pope)
1821:
1762:
1671:
1636:
1627:
1622:
1574:
1556:
1554:Further reading
1551:
1381:
1376:
1371:
1367:
1357:
1355:
1354:on 29 June 2014
1340:
1339:
1335:
1330:
1326:
1321:
1314:
1309:
1305:
1300:
1296:
1291:
1284:
1272:Wayback Machine
1262:
1258:
1253:
1249:
1244:
1235:
1230:
1223:
1215:
1211:
1206:
1199:
1194:
1187:
1183:van Alphen, 107
1182:
1178:
1173:
1169:
1164:
1160:
1155:
1151:
1146:
1137:
1130:South Bank Show
1123:
1119:
1114:
1110:
1106:van Alphen, 110
1105:
1101:
1097:van Alphen, 108
1096:
1089:
1084:
1075:
1071:Gale et al., 94
1070:
1066:
1061:
1052:
1047:
1043:
1038:
1034:
1029:
1025:
1020:
1013:
1008:
1001:
996:
989:
984:
977:
972:
965:
960:
956:
951:
947:
942:
938:
933:
924:
919:
910:
905:
898:
888:
884:
879:
872:
867:
863:
858:
854:
839:
835:
830:
819:
814:
810:
805:
796:
791:
787:
782:
778:
773:
769:
765:
760:
749:
733:
725:
719:
701:Hayward Gallery
694:
668:enfant terrible
663:Painting (1946)
652:
645:
635:
626:
619:
610:
598:
589:
577:
553:
500:, today in the
410:
327:
318:
308:
167:Painting (1946)
157:
146:David Sylvester
134:Lawrence Gowing
122:enfant terrible
108:Hanover Gallery
83:Pope Innocent X
62:Diego Velázquez
34:Hayward Gallery
17:
12:
11:
5:
2238:
2228:
2227:
2222:
2217:
2212:
2210:1949 paintings
2195:
2194:
2192:
2191:
2183:
2174:
2172:
2168:
2167:
2165:
2164:
2159:
2152:
2147:
2141:
2139:
2135:
2134:
2132:
2131:
2123:
2115:
2107:
2098:
2096:
2095:Self-portraits
2092:
2091:
2089:
2088:
2080:
2072:
2063:
2061:
2057:
2056:
2054:
2053:
2045:
2037:
2029:
2021:
2013:
2004:
2002:
2001:Male portraits
1998:
1997:
1995:
1994:
1986:
1977:
1975:
1967:
1966:
1964:
1963:
1955:
1947:
1943:Triptych, 1976
1939:
1931:
1923:
1915:
1907:
1899:
1890:
1888:
1882:
1881:
1879:
1878:
1870:
1862:
1854:
1846:
1838:
1829:
1827:
1823:
1822:
1820:
1819:
1811:
1803:
1795:
1787:
1779:
1770:
1768:
1764:
1763:
1761:
1760:
1752:
1744:
1736:
1728:
1720:
1712:
1704:
1696:
1688:
1679:
1677:
1673:
1672:
1670:
1669:
1661:
1653:
1644:
1642:
1638:
1637:
1632:
1629:
1628:
1621:
1620:
1613:
1606:
1598:
1592:
1591:
1585:
1573:
1572:External links
1570:
1569:
1568:
1555:
1552:
1550:
1549:
1535:
1521:
1504:
1487:
1470:
1453:
1439:
1425:
1411:
1397:
1382:
1380:
1377:
1375:
1374:
1365:
1333:
1324:
1312:
1303:
1294:
1282:
1256:
1247:
1233:
1221:
1209:
1197:
1185:
1176:
1167:
1158:
1149:
1135:
1117:
1108:
1099:
1087:
1073:
1064:
1050:
1041:
1032:
1023:
1011:
999:
987:
975:
963:
954:
945:
936:
922:
908:
896:
882:
870:
861:
852:
833:
817:
808:
794:
785:
776:
766:
764:
761:
759:
756:
693:
690:
651:
648:
647:
646:
636:
629:
627:
620:
613:
611:
599:
592:
590:
578:
571:
435:King and Queen
409:
406:
398:Adolf Eichmann
326:
323:
156:
150:
89:contains many
49:by Irish-born
15:
9:
6:
4:
3:
2:
2237:
2226:
2223:
2221:
2218:
2216:
2213:
2211:
2208:
2207:
2205:
2190:
2188:
2184:
2182:
2180:
2176:
2175:
2173:
2169:
2163:
2160:
2158:
2157:
2153:
2151:
2148:
2146:
2143:
2142:
2140:
2136:
2129:
2128:
2124:
2121:
2120:
2116:
2113:
2112:
2111:Self-portrait
2108:
2105:
2104:
2100:
2099:
2097:
2093:
2086:
2085:
2081:
2078:
2077:
2073:
2070:
2069:
2065:
2064:
2062:
2058:
2051:
2050:
2046:
2043:
2042:
2038:
2035:
2034:
2030:
2027:
2026:
2022:
2019:
2018:
2014:
2011:
2010:
2006:
2005:
2003:
1999:
1992:
1991:
1987:
1984:
1983:
1979:
1978:
1976:
1974:
1973:
1968:
1961:
1960:
1956:
1953:
1952:
1948:
1945:
1944:
1940:
1937:
1936:
1932:
1929:
1928:
1924:
1921:
1920:
1916:
1913:
1912:
1908:
1905:
1904:
1900:
1897:
1896:
1892:
1891:
1889:
1887:
1883:
1876:
1875:
1871:
1868:
1867:
1863:
1860:
1859:
1855:
1852:
1851:
1847:
1844:
1843:
1839:
1836:
1835:
1831:
1830:
1828:
1824:
1817:
1816:
1812:
1809:
1808:
1804:
1801:
1800:
1796:
1793:
1792:
1788:
1785:
1784:
1780:
1777:
1776:
1772:
1771:
1769:
1765:
1758:
1757:
1753:
1750:
1749:
1745:
1742:
1741:
1737:
1734:
1733:
1729:
1726:
1725:
1721:
1718:
1717:
1713:
1710:
1709:
1705:
1702:
1701:
1697:
1694:
1693:
1692:Painting 1946
1689:
1686:
1685:
1681:
1680:
1678:
1674:
1667:
1666:
1662:
1659:
1658:
1654:
1651:
1650:
1646:
1645:
1643:
1639:
1635:
1630:
1626:
1619:
1614:
1612:
1607:
1605:
1600:
1599:
1596:
1589:
1586:
1583:
1579:
1576:
1575:
1566:
1562:
1558:
1557:
1548:
1547:0-500-09335-0
1544:
1540:
1536:
1534:
1533:0-948462-33-7
1530:
1526:
1522:
1520:
1519:0-500-01994-0
1516:
1512:
1508:
1505:
1503:
1502:3-7913-1664-8
1499:
1495:
1491:
1488:
1486:
1485:0-500-20169-2
1482:
1478:
1474:
1473:Russell, John
1471:
1469:
1468:0-8133-3520-5
1465:
1461:
1457:
1454:
1452:
1451:1-891475-16-9
1448:
1444:
1440:
1438:
1437:0-8478-3275-9
1434:
1430:
1429:Francis Bacon
1426:
1424:
1423:0-8109-2925-2
1420:
1416:
1412:
1410:
1409:0-500-28254-4
1406:
1402:
1398:
1396:
1395:0-89659-447-5
1392:
1388:
1387:Francis Bacon
1384:
1383:
1369:
1353:
1349:
1348:
1343:
1337:
1328:
1322:Peppiatt, 128
1319:
1317:
1310:Sylvester, 49
1307:
1301:Peppiatt, 147
1298:
1292:Sylvester, 50
1289:
1287:
1279:
1278:
1273:
1269:
1266:
1260:
1251:
1242:
1240:
1238:
1228:
1226:
1219:
1213:
1204:
1202:
1192:
1190:
1180:
1171:
1162:
1153:
1144:
1142:
1140:
1132:
1131:
1126:
1125:Bragg, Melvyn
1121:
1112:
1103:
1094:
1092:
1085:Sylvester, 37
1082:
1080:
1078:
1068:
1062:Sylvester, 36
1059:
1057:
1055:
1045:
1039:Peppiatt, 141
1036:
1030:Sylvester, 53
1027:
1018:
1016:
1009:Sylvester, 13
1006:
1004:
997:Peppiatt, 112
994:
992:
985:Peppiatt, 129
982:
980:
970:
968:
958:
952:Peppiatt, 127
949:
943:Peppiatt, 130
940:
934:Peppiatt, 131
931:
929:
927:
917:
915:
913:
903:
901:
893:
886:
880:Peppiatt, 122
877:
875:
865:
859:Sylvester, 40
856:
849:
848:
843:
837:
828:
826:
824:
822:
812:
803:
801:
799:
789:
780:
771:
767:
755:
753:
745:
741:
737:
729:
717:
712:
710:
706:
702:
698:
689:
687:
683:
678:
675:
674:
669:
665:
664:
659:
658:
643:
642:
633:
628:
624:
617:
612:
608:
607:
602:
596:
591:
587:
586:
581:
575:
570:
569:
568:
566:
562:
557:
549:
545:
540:
538:
534:
533:
528:
527:
522:
517:
515:
511:
505:
503:
499:
498:
493:
489:
487:
483:
479:
475:
471:
463:
462:
457:
453:
449:
447:
446:
441:
437:
436:
431:
427:
423:
419:
415:
405:
403:
402:George Orwell
399:
395:
391:
385:
382:
377:
373:
372:
367:
363:
359:
354:
352:
351:
341:
340:
335:
331:
322:
314:
312:
304:
300:
296:
292:
288:
284:
277:
276:
271:
266:
262:
259:
253:
251:
247:
243:
239:
235:
231:
227:
223:
219:
218:
213:
212:
202:
201:
196:
195:
190:
186:
184:
183:
176:
173:
172:Erica Brausen
169:
168:
163:
154:
149:
147:
143:
139:
135:
131:
127:
123:
119:
118:
113:
112:Erica Brausen
109:
105:
101:
99:
98:
92:
88:
84:
80:
76:
73:
69:
68:
63:
59:
55:
54:Francis Bacon
52:
48:
44:
43:
35:
31:
27:
23:
19:
2186:
2178:
2154:
2125:
2117:
2109:
2101:
2082:
2074:
2066:
2047:
2039:
2031:
2023:
2015:
2007:
1988:
1980:
1971:
1957:
1949:
1941:
1933:
1925:
1917:
1909:
1901:
1893:
1872:
1864:
1856:
1848:
1840:
1832:
1814:
1813:
1805:
1797:
1789:
1781:
1773:
1754:
1746:
1738:
1730:
1722:
1714:
1706:
1698:
1690:
1682:
1663:
1655:
1647:
1641:Crucifixions
1582:Arts Council
1560:
1538:
1524:
1510:
1493:
1476:
1459:
1442:
1428:
1414:
1400:
1386:
1368:
1356:. Retrieved
1352:the original
1345:
1336:
1327:
1306:
1297:
1275:
1259:
1250:
1217:
1212:
1179:
1170:
1161:
1152:
1128:
1120:
1111:
1102:
1067:
1044:
1035:
1026:
1021:Peppiatt, 30
957:
948:
939:
885:
868:Peppiatt, 87
864:
855:
845:
836:
811:
792:Peppiatt, 28
788:
779:
770:
747:
743:
739:
731:
723:
713:
705:Grand Palais
696:
695:
685:
681:
679:
673:The Observer
671:
667:
661:
655:
653:
638:
622:
604:
583:
564:
551:
543:
541:
536:
530:
524:
518:
510:contemporary
506:
495:
491:
490:
485:
477:
467:
459:
443:
439:
433:
421:
411:
393:
386:
376:Melvyn Bragg
369:
366:Odessa Steps
355:
348:
345:
337:
315:
306:
302:
298:
294:
290:
286:
285:
281:
273:
254:
241:
237:
215:
209:
206:
198:
192:
180:
177:
165:
158:
152:
130:John Russell
125:
121:
115:
103:
102:
95:
86:
78:
77:
65:
41:
40:
39:
32:collection,
30:Arts Council
25:
18:
2189:(1998 film)
2181:(1981 book)
1919:Crucifixion
1767:Head series
1708:Two Figures
1649:Crucifixion
1584:collection.
1277:Tate Papers
1245:Schmied, 21
1231:Schmied, 17
1207:Russell, 35
1195:Zweite, 208
1156:Zweite, 115
1147:Schmied, 18
1048:Russell, 39
831:Russell, 38
815:Russell, 10
774:Zweite, 244
677:esoteric".
456:Edgar Degas
426:Henry Moore
325:Description
268:Still from
2204:Categories
1115:Zweite, 75
973:Dawson, 52
920:Zweite, 83
806:Zweite, 74
758:References
692:Provenance
523:, such as
482:Old Master
418:surrealist
408:Influences
299:cul-de-sac
270:Eisenstein
142:iconoclasm
2130:(1985–86)
1886:Triptychs
1861:(c. 1954)
744:Pope 1965
740:Pope 1961
625:, 1545–46
588:, 1511–12
521:Philip IV
334:Velázquez
250:Velázquez
246:vestments
153:1949 Head
58:bust view
1791:Head III
1268:Archived
1165:Farr, 60
738:(1951),
637:Titian,
621:Titian,
476:'s 1558
430:maquette
422:The Cage
317:Innocent
301:, while
138:pastiche
36:, London
2171:Related
1815:Head VI
1799:Head IV
1783:Head II
1676:Figures
1588:Head VI
1580:in the
1578:Head VI
1379:Sources
1358:28 June
697:Head VI
686:Head VI
580:Raphael
561:Picasso
492:Head VI
295:Head II
291:Head II
242:Head VI
238:Head VI
222:pharynx
217:Head II
200:Head II
162:Tangier
126:Head VI
104:Head VI
87:Head VI
79:Head VI
42:Head VI
26:Head VI
2122:(1979)
2114:(1973)
2106:(1973)
2087:(1967)
2079:(1966)
2071:(1963)
2052:(1976)
2044:(1969)
2036:(1967)
2028:(1967)
2020:(1966)
2012:(1964)
1993:(1973)
1985:(1972)
1962:(1988)
1954:(1981)
1946:(1976)
1938:(1968)
1930:(1967)
1922:(1965)
1914:(1964)
1906:(1962)
1898:(1944)
1877:(1971)
1869:(1962)
1853:(1954)
1845:(1953)
1837:(1950)
1818:(1949)
1810:(1949)
1807:Head V
1802:(1949)
1794:(1949)
1786:(1949)
1778:(1949)
1775:Head I
1759:(1986)
1751:(1970)
1743:(1969)
1735:(1968)
1727:(1955)
1719:(1953)
1711:(1953)
1703:(1952)
1695:(1946)
1687:(1945)
1668:(1950)
1660:(1933)
1652:(1933)
1545:
1531:
1517:
1500:
1483:
1466:
1449:
1435:
1421:
1407:
1393:
750:
734:
726:
720:
682:Head I
644:, 1558
609:, 1543
601:Titian
554:
544:per se
474:Titian
464:, 1884
319:
309:
287:Head I
211:Head I
194:Head I
182:Head I
155:series
91:motifs
72:pathos
45:is an
1826:Popes
763:Notes
548:fauve
470:Degas
381:Monet
358:still
303:Heads
1543:ISBN
1529:ISBN
1515:ISBN
1498:ISBN
1481:ISBN
1464:ISBN
1447:ISBN
1433:ISBN
1419:ISBN
1405:ISBN
1391:ISBN
1360:2014
892:IMMA
748:Head
742:and
732:Pope
724:Head
684:and
552:Head
514:cope
440:Head
432:for
307:Head
258:Soho
232:and
140:and
1274:".
844:".
364:'s
336:'s
272:'s
226:III
64:'s
2206::
1509:.
1492:.
1475:.
1458:.
1344:.
1315:^
1285:^
1236:^
1224:^
1200:^
1188:^
1138:^
1090:^
1076:^
1053:^
1014:^
1002:^
990:^
978:^
966:^
925:^
911:^
899:^
873:^
820:^
797:^
752:VI
730:,
728:VI
603:,
582:,
567:.
556:VI
458:,
448:.
311:VI
230:IV
228:,
100:.
1617:e
1610:t
1603:v
1362:.
736:I
234:V
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.JPG)
.jpg)