248:"La distinction aujourd'hui classique entre conscient et inconscient est très féconde, me semble-t-il. Elle ne recouvre pas tout à fait ce à quoi je pense par rapport à la peinture, mais elle a l'avantage de ne pas recourir à une explication métaphysique pour parler de ce qui échappe à la compréhension logique des choses. L'inconnu n'est pas renvoyé du côté de la mystique ou de quelque chose comme ça. Et c'est très important pour moi, parce que j'ai horreur de toute explication de cet ordre." ("The classic distinction today between the conscious and the
181:. After staying at a succession of hotels and flats, including the Hôtel de Ré, Bacon settled in a large villa, La Frontalière, in the hills above the town. Eric Hall and Nanny Lightfoot would come to stay. Bacon spent much of the next few years in Monte Carlo, apart from short visits to London. From Monte Carlo, Bacon wrote to Graham Sutherland and Erica Brausen. His letters to Erica Brausen show that he did paint there, but no paintings are known to survive.
252:
is a useful one I think. It doesn't quite cover what I think about painting, but it has the advantage of not having to resort to a metaphysical explanation to talk about what cannot be explained in rational terms. The unknown is not relegated to the realm of the mystical or something similar. And
31:
130:. It was originally intended to depict a chimpanzee in long grass (parts of which may be still visible); Bacon then attempted to paint a bird of prey landing in a field. Bacon described the work as his most unconscious, the figurations forming without his intention.
139:
had been taken into the
National Gallery collection and Bacon almost certainly had this painting in the back of his mind in respect of the garlands, the calf (now slaughtered) and the tented Israelite encampment, now transmuted into an umbrella.
158:, to go to see the painting and to buy it. Brausen wrote to Bacon several times and visited his studio in the early Autumn of 1946, promptly buying the work for ÂŁ200. It was shown in several group showings, including the British section of
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that's very important to me because I loathe all explanations of that sort.") – Francis Bacon
Entretiens avec Michel Archimbaud, 1992 (Francis Bacon in conversation with Michel Archimbaud)
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School: The
Archaeology of Lost Desires, Comprehending Infinity and the Search for Knowledge
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in New York. Bacon wrote to
Sutherland asking that he apply fixative to the patches of
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Peppiatt, Michael. "Francis Bacon in the 1950s". Yale
University Press, 2006. 143.
232:, featuring sides of beef, birds, a chair and an umbrella all within the vitrine.
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is now too fragile to be moved from the museum for exhibition elsewhere.
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198 cm Ă— 132 cm (78 in Ă— 52 in)
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to the
Hanover gallery, Bacon had used the proceeds to decamp from
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Study for
Portrait II (After the Life Mask of William Blake)
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Portrait of Isabel
Rawsthorne Standing in a Street in Soho
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Triptych
Inspired by T.S. Eliot's Poem "Sweeney Agonistes"
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Love Is the Devil: Study for a
Portrait of Francis Bacon
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Three Studies for Figures at the Base of a Crucifixion
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Paintings in the Museum of Modern Art (New York City)
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Version No. 2 of Lying Figure with Hypodermic Syringe
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in the Cromwell Place studio, and urged his dealer,
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Study after Velázquez's Portrait of Pope Innocent X
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750:Three Studies for a Portrait of Henrietta Moraes
758:Three Studies for a Portrait of Muriel Belcher
633:Triptych Inspired by the Oresteia of Aeschylus
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809:Study for a Self-Portrait—Triptych, 1985–86
691:Three Studies for a Portrait of George Dyer
617:Two Figures Lying on a Bed with Attendants
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827:List of large triptychs by Francis Bacon
715:Portrait of George Dyer and Lucian Freud
556:Study of Red Pope 1962. 2nd version 1971
162:(18 November – 28 December 1946) at the
160:Exposition internationale d'arte moderne
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220:, a large fan of Bacon's, modeled his
166:, for which Bacon travelled to Paris.
861:Francis Bacon: The Logic of Sensation
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122:, is an oil-on-linen painting by the
204:before it was shipped to New York.
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169:Within a fortnight of the sale of
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918:
398:Three Studies from the Human Head
136:The Adoration of the Golden Calf
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801:Three Studies for Self-Portrait
785:Three Studies for Self Portrait
699:Portrait of George Dyer Talking
641:Second Version of Triptych 1944
585:Three Studies for a Crucifixion
422:Study for a Bullfight, Number 2
430:Three Studies of the Male Back
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16:1999 painting by Francis Bacon
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723:Three Studies of Lucian Freud
707:Three Studies for George Dyer
164:Musée National d'Art Moderne
133:The previous year Poussin's
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844:Influences on Francis Bacon
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902:Paintings by Francis Bacon
832:Triptychs by Francis Bacon
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731:Portrait of Michel Leiris
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347:Fragment of a Crucifixion
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382:Study for Crouching Nude
672:Triptych, May–June 1973
593:Three Figures in a Room
339:Wound for a Crucifixion
307:Francis Bacon (artist)
548:Study from Innocent X
516:Study after Velázquez
366:Figure in a Landscape
664:Triptych–August 1972
194:Museum of Modern Art
86:Museum of Modern Art
838:The Black Triptychs
236:Notes and citations
438:Blood on the Floor
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316:List of paintings
144:Graham Sutherland
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742:Female portraits
532:Figure with Meat
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152:Erica Brausen
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126:-born artist
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69:Oil on linen
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871:(1998 film)
863:(1981 book)
601:Crucifixion
449:Head series
390:Two Figures
331:Crucifixion
250:unconscious
212:Inspiration
190:Alfred Barr
179:Monte Carlo
886:Categories
74:Dimensions
812:(1985–86)
568:Triptychs
543:(c. 1954)
184:In 1948,
96:Accession
56:Catalogue
473:Head III
192:for the
188:sold to
113:Painting
99:229.1948
90:New York
82:Location
853:Related
497:Head VI
481:Head IV
465:Head II
358:Figures
222:vitrine
804:(1979)
796:(1973)
788:(1973)
769:(1967)
761:(1966)
753:(1963)
734:(1976)
726:(1969)
718:(1967)
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702:(1966)
694:(1964)
675:(1973)
667:(1972)
644:(1988)
636:(1981)
628:(1976)
620:(1968)
612:(1967)
604:(1965)
596:(1964)
588:(1962)
580:(1944)
559:(1971)
551:(1962)
535:(1954)
527:(1953)
519:(1950)
500:(1949)
492:(1949)
489:Head V
484:(1949)
476:(1949)
468:(1949)
460:(1949)
457:Head I
441:(1986)
433:(1970)
425:(1969)
417:(1968)
409:(1955)
401:(1953)
393:(1953)
385:(1952)
377:(1946)
369:(1945)
350:(1950)
342:(1933)
334:(1933)
266:
228:after
198:pastel
175:London
38:Artist
508:Popes
124:Irish
60:79204
264:ISBN
146:saw
66:Type
51:1946
48:Year
200:on
177:to
116:or
888::
88:,
299:e
292:t
285:v
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