There is a common purpose for human existence established in the tradition of portraiture, the primal act of painting that links him in formal terms to the Old Masters, and to the history of art itself. I throw it with my hand. Sylvester, The Brutality of Fact: Interviews with Francis Bacon, London, 1993, p. Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. See Martin Hammer's discussion in Clearing Away the Screens.
Francis Bacon's art is full of paradox - he both repulses and seduces his audience simultaneously. As the artist explained, 'I do work very much more by chance now than I did when I was young. Perhaps they even fueled it. The idea to use a triptych format was probably inspired by the expressionist paintings of Max Beckmann which Bacon would have seen in Berlin. For more information about the sale, click! Aa2 1322432 Georg Baselitz Gruner Mit Birke 1327600 Martin Kippenberger Zuerst die Fusse Feet First 1325000 Paul Klee Daemonische Marionetten Demonic Puppets 1327500 Henri Matisse Tete de femme 1327500 Robert Motherwell Untitled In Orange with Charcoal Lines 1327500 George Condo Street Fair In New York 1330000 Willem de Kooning Untitled 9 1332500 Jim Hodges Untitled Study For Gate 1332500 Robert Ryman Untitled 29 1332500 Lucio Fontana Concetto Spaziale Attese 1316684 Louise Bourgeois Untitled 1308020 Bridget Riley Midi 1301860 Tauba Auerbach EnfoldFold inner ; EnfoldFold outer 1299310 Sean Scully Eve 1296170 Michelangelo Pistoletto Violet Dog 1288450 Rudolf Stingel Untitled Topolino 1288450 Mark Bradford Value 60 1276280 Ju Ming Taichi Series 1271910 Ju Ming Taichi Series: Single Whip 1271910 Marino Marini Grande Teatro 1270439 Andy Warhol Jackie 1272500 Affandi Borobudur And The Sun 1263553 Piero Manzoni Achrome 1251460 Andy Warhol The Disquieting Muses After de Chirico 1244470 Liu Wei No Smoking 1248081 Pierre Soulages Peinture 146 x 97 cm, 1949 1240290 Enrico Castellani Superficie Bianca 1239610 Joseph Beuys Zeitpunkt Das Massaker von Muenchen Point of time The Massacre of Munich 1217140 Zao Wou-Ki 12. It is this ability to convey the essence of the subject that is so prodigious in Bacon's portraiture. The painting had many owners —including the politician, businessman and newspaper owner Max Aitken, Lord Beaverbrook — before it entered the collection of philanthropist Simon Sainsbury in 1995.
For more information about the artwork and the sale, click! In Double Portrait of Lucian Freud and Frank Auerbach carried out the same year, Bacon similarly joins the angular face of Freud with the soft, rounded torso, arms and thighs of his own physique. This sale raised a lot of controversies though. Most people go to the most academic painters when they want to have their portraits made because for some reason they prefer a kind of coloured photograph of themselves instead of having themselves really trapped and caught. He was a prolific artist, but nonetheless spent many of the evenings of his middle age eating, drinking and gambling in London's Soho with like-minded friends such as Lucian Freud though the two fell out in the mid-1970s, for reasons neither ever explained , John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson, Tom Baker, and Jeffrey Bernard. In 1975, Bacon told David Sylvester, 'I loathe my own face, but I go on painting it because I haven't got any other people to do'. Richard Calvocoressi's searching essay, Bacon: Public and Private, examines recent scholarship since Bacon's death in 1992. This silent figure painted in 1960 and cloaked in a rich blood-red crimson is a work that stand as an almost unique example from this seminal series.
The death of his lover led to the different approach by Bacon, that would eventually lead to the more reductive artistic approach, which culminated during the 1980s. The garbage of the psyche has been put out at the back door; all buttons are done up. Bacon to Sylvester, quoted by Hammer, ibid, p. Harrison, In Camera Francis Bacon: Photography, Film and the Practice of Painting, London, 2005, p. Dominating the lower half of the composition are two regions of intense colour: a matte shade of cerulean blue, flanked by a carefully stippled, aquamarine. Martin Harrison, In Camera — Francis Bacon: Photography, Film and the Practice of Painting, London 2005, p. A sense of this atmosphere is imbued into the very fabric of Study for Self-Portrait , the pronounced confidence translated into the work's bold composition.
A sense of the period's deep anxiety is palpable in the darkness of the inky, blue-black composition and the bent, defensive, crouched position of the artist's body. Colours abound, with orange and green highlighting the powerful forearm. As the artist explained, 'people go to bars to be closer to each other. In this self-portrait Bacon looks on the world with a squeamish horror, his face doubled and blurred in his desire to capture the human scream of suffering. Bacon never painted from life, preferring instead to use the still photographic image; in Study for Self-Portrait, these elements are plucked and fused from John Deakin's renowned photo shoot of both men undertaken in 1964. The pictures were differentiated almost entirely through color, touch and atmospheric effect, and this example shows the play of light and color, oozing in the late afternoon sky glowing peach and gold, and the stack immersed in pink and red. In establishing the dialogue, it is possible to experience these images beyond the hideous, expressionistic despair.
Exhibited London, Marlborough Fine Art Ltd. The brute and raw nature of the figure represents in some ways what Bacon refers to as the dung heap of life. He said that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. Freud was deeply impressed by Bacon's ineluctable skill. Arguably the moment of greatest personal and professional contentment in Bacon's career, Study for Self-Portrait was painted shortly after the artist's breakthrough retrospective at the Tate Gallery, London in 1962, and the year after his first major American exhibition at Solomon R. He is best known for his depictions of popes, crucifixions and portraits of close friends. No other painter delivered as potent a message of nihilistic despair as Francis Bacon in Britain in the 1940s and 1950s.
As he remarked caustically, 'after all, as we are human beings, our greatest obsession is with ourselves' F. Around 1944, he destroyed most of the work he had produced to date as he believed that it failed to communicate the way he felt about the world. The piece draws on classical Greek iconography and mythology, and makes reference to Prometheus, as several interpretations claim. I just squeeze it into my hand and throw it on. Bacon argued that the only way to convey fact or truth was through a form of distortion, a distortion that reflected life's suffering and despair. His output can be broadly described as sequences or variations on a single motif; beginning with the 1930s Picasso-informed Furies, moving on to the 1940s male heads isolated in rooms or geometric structures, the 1950s screaming popes, and the mid-to-late 1950s animals and lone figures, the 1960s portraits of friends, the nihilistic 1970s self-portraits, and the cooler more technical 1980s late works. Farson, The Gilded Gutter Life of Francis Bacon, New York, 1993, p.
His art was influenced by Surrealist abstraction but it did not gain much critical success. Deeply contorted, Bacon's piercing eyes, fleshy lips and rounded jaw are still instantly recognisable, while the lean, sculpted limbs and lithe serpentine of the body is unmistakably Lucian Freud. The triptych format allows Bacon to show three aspects of his face: the central portrait viewed face-on, and with slight three quarter views to either side, similar to a police. Bacon became a star although he died in 1992 ; however, this, a bit unexpected sale that broke all the records put at the list of the most popular contemporary artists of our era. This exhibition later travelled to Minneapolis, The Minneapolis Institute of Arts; San Francisco, The Fine Arts Museums of San Francisco and Fort Worth, The Modern Art Museum of Fort Worth.
However, he also seduces them by the rich sensual qualities of his beautiful paint surface with its electrifying brushwork and rich expressive colour. He felt less inhibited when he wanted to distort their faces when they were not present. On top of this sea of midnight blue, Bacon has applied a nude tone, which nevertheless betrays its under-painting: dark brushstrokes rising up like shadows from the depths and creeping around each painterly threshold. The finish is violent yet remarkably controlled: the eyes, nose and plump lips dramatically contorted, yet still recognizably the artist's own. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, which sealed his reputation as a uniquely bleak chronicler of the human condition.