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It was November 12,when one of the Francis Bacon paintings was sold at auction in New York setting the world record as the most expensive piece of art sold at auction you probably know which piece we are talking about, but we are not going to reveal it in the introduction. Bacon became a star although he died in ; however, this a bit unexpected sale that broke all the records put Francis Bacon at the list of the most popular contemporary artists of our era. This sale raised a lot of controversies though. How could you possibly ever see the painting without seeing the money in front? Marina might be right, but that is the question about the prices at the art market. Here, we Francis Bacon: Five Decades to focus first on some famous Francis Bacon paintings regardless of the price they were sold forand on his quite unique style and approach. In the beginnings of the s, Bacon met George Dyer Francis Bacon: Five Decades whom he had fallen in love. Infatuated, Bacon chose Dyer as a recurrent subject of his works in the s some of the most notable ones. The death of his lover led to a different approach by Bacon, which would eventually lead to a more reductive artistic approach, which culminated during the s. But, in this article, we are not focusing on Francis Bacon's unique art, and his life, Francis Bacon: Five Decades on his paintings. We want to see what are the most expensive Francis Bacon paintings sold at auctions. The art of Francis Bacon largely depended on his private life. This generously illustrated monograph opens with the fecund period, then traces subsequent periods of exceptional artistic output, decade by decade, through the end of Bacon's career. Gorgeous color illustrations allow readers to study the artist's Francis Bacon: Five Decades expressive palette and powerful imagery through his series of screaming popes, portraits of friends, mourning triptychs, scenes from Greek mythology, and, finally, self-portraits inspired by an awareness of his own mortality. Thought-provoking essays provide further insight into Bacon's world both within and without the studio. The volume includes a wide range of photographs and archival material. It shows the artist dressed in boots and an unbuttoned shirt in a lavender room. For more information about the work, click here! This silent figure painted in and Francis Bacon: Five Decades in a rich blood-red crimson is a work that stands as an almost unique example from this seminal series. Click here for more information about the artwork! Exuding unrivalled intellectual and painterly command, Figure Writing Reflected in Mirror represents a stunning summation of the intensely introspective years that preceded its creation and the prevailing triumph that shortly followed with Bacon's Francis Bacon: Five Decades exhibition at Claude Bernard. With his muscular back turned and deeply immersed in the act of writing, Francis Bacon's nude figure radiates melancholic absorption. For more information about the artwork and the sale, click here! Dyer appears in over forty Francis Bacon paintings, with as many created following his death as executed during his lifetime. For more information about the artwork, click here! Bacon returned to Moraes as a subject for more than 16 paintings over the course of his career. More data on the work here. Francis Bacon: Five Decades info on the work here. More info on the artwork here. One of the finest and most mysterious of Bacon's paintings from the s, Triptych is the last in the great series of triptychs that Bacon painted in response to the tragic death of his lover George Dyer in Painted between May and June ofthis great Baconian landscape was the last work the artist made before a major retrospective of his work held at the Metropolitan Museum of Art in New York in As the most recent and also one of the most elaborate and ambitious of the artist's paintings to be included in this exhibition, it formed the culmination of this important survey of Bacon's career from the late s onwards and was immediately recognized as both a major landmark and also perhaps a turning point in Bacon's career. This is only one out of several famous Francis Bacon paintings representing the Pope. This was Francis Bacon: Five Decades first painting in which Bacon incorporated sheets of paper in the foreground, and in this instance their blankness is both deeply poignant and an essential element in the composition. For more Francis Bacon: Five Decades about Francis Bacon: Five Decades sale, click here! Francis Bacon: Five Decades inThree Studies for a Portrait of John Edwards is a celebration of what was probably the most important and significant relationship of Francis Bacon's life. The subject of this painting is John Edwards, a bar manager from the East End of London, who Bacon had met a decade earlier and who went on to become one of the artist's closest and most trusted companions. Across its three panels, Bacon records with his Francis Bacon: Five Decades verve and painterly flourishes the lithe figure of Edwards dressed in a simple outfit of a white shirt and grey pants. For more information about the piece, click here! The triptych is a large three panel painting each panel measuring 78 x 58 in, x Bacon used his usual technique, starting on the left panel and working across. The piece draws on classical Greek iconography and mythology, and makes reference to Prometheus, as several interpretations claim. And we have a winner - Three Studies of Lucian Freud sale broke all the records in Francis Bacon and Lucian Freud were friends, but also rivals. All three panels, in Bacon's typical abstract, distorted, isolated style, show Freud sitting on a cane-bottomed wooden chair within a cage, on a curved mottled-brown surface with a solid Francis Bacon: Five Decades background. Be sure to check out works by Francis Bacon on our marketplace! Scroll down, and find out what are the most expensive Francis Bacon paintings at auctions! Figure Writing Reflected in Mirror, Exuding unrivalled intellectual and painterly command, Figure Writing Reflected in Mirror represents a stunning summation of the intensely introspective years that preceded its creation and the prevailing triumph that shortly followed with Bacon's legendary exhibition at Claude Bernard. Triptych One of the finest and most mysterious Francis Bacon: Five Decades Bacon's paintings from the s, Triptych is the last in the great series of triptychs that Bacon painted in response to the tragic death of his lover George Dyer in Studies for a Portrait of John Edwards, Painted Francis Bacon: Five DecadesThree Studies for a Portrait of John Edwards is a celebration of what was probably the most important and significant relationship of Francis Bacon's life. Triptych, The triptych is a large three panel painting each panel measuring 78 x 58 in, x All Images used for illustrative purposes only. FRANCIS BACON / FIVE DECADES (Thames & Hudson) - Proper Magazine

Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Francis Bacon by Francis Francis Bacon: Five Decades. Francis Bacon: Five Decades. Edited by Anthony Bond by Francis Bacon. Twenty years after the artist's death, this book presents a timely and rich overview of the life and work of Francis Bacon. The book includes some 60 paintings as well as photographs, ephemera and archival material largely drawn from the artist's studio. Get A Copy. Paperbackpages. More Details Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Francis Baconplease sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. All Languages. More filters. Sort order. Start your review of Francis Bacon: Five Decades. Edited by Anthony Bond. John rated it really liked it Feb 28, Monica rated it liked it Sep 16, Tony Burns rated it it was amazing Apr 09, Lasse Hansen rated it it was amazing Jun 27, Luke rated it it was amazing Feb 09, Francis Bacon: Five Decades Pridemore rated it it was amazing Jan 31, Paul rated it it was amazing Jun 16, Leo Photiou rated it really liked it Apr 28, Merkuria rated it it was amazing Oct 28, Gregor Schmidinger rated it liked it Nov 04, Amanda rated it liked it May 14, Sean marked it as to-read Dec 28, James added it Jan Francis Bacon: Five Decades, James Phyland marked it as to-read Feb 09, Dani marked it as to-read May 03, Niwat added it Oct 05, April added Francis Bacon: Five Decades Jan 19, Chris Pirsos added it May 13, Albeiro marked it as to-read Francis Bacon: Five Decades 07, Rebecca added it Sep 18, Hunter marked it as to-read Sep 30, TheOneWhoKnocks marked it as to-read Mar 03, Blake marked it as to-read Feb 14, Terri added it Sep 26, Matt Sawyer marked it as Francis Bacon: Five Decades Oct 28, Shima marked it as to-read Jul Francis Bacon: Five Decades, Filipe Shalders is currently reading it Oct 23, Schwerbaer marked it as to-read Nov 09, Judy Nolan added it Apr 28, Jake Bos marked it as to-read Feb 03, Ryan marked it as to-read Jul 19, Mathew added it Mar 22, There are no discussion topics on this book yet. About Francis Bacon. Francis Bacon. Francis Bacon was an Irish-born British figurative painter. He was a collateral descendant of the Elizabethan philosopher Francis Bacon. His artwork is known for its bold, austere, and often grotesque or nightmarish imagery. For the Elizabethan pholosopher, see this author profile. Books by Francis Bacon. Escape the Present with These 24 Historical Romances. You know the saying: There's no time like the present In that case, we can't Read more Trivia About Francis Bacon: Fi No trivia or quizzes yet. Welcome back. Just a moment while we sign you in to your Goodreads account. Francis Bacon: Five Decades. Edited by Anthony Bond by Francis Bacon

William Crozier: The Edge of Landscape. Queer British Art Francis Bacon: Invisible Rooms. Four Australian State galleries have significant examples of his work from the s to the s but they have never been shown together. The premise of the exhibition has been to foreground the facture of the paintings rather than presenting the narratives that a thematic installation privileges. Bacon himself hated the idea of narrative in painting but more importantly the structure of his paint changed dramatically roughly every ten years and this hang celebrates these often uncanny moves. The unusual materiality of the paintings can be the most exciting aspect of a reconsideration of his work. All but one of these paintings relate to crucifixion themes, but more importantly they establish some fascinating technical innovations that will be Francis Bacon: Five Decades with the next room of s paintings, that are much more loosely painted. Immediately after he moved into Rees Mews in the work changed again. The overall brushwork and vertical striations disappeared and the figures become concentrated sculptural forms isolated against flat fields of colour. Significant changes in colour and paint application also occur in the s and s, although these may be more subtle. Encountering works often done as a series in the same room brings out some surprising features in the techniques Bacon invented as he went along. The Belfast painting Head II was one of the first to be done on the back of a primed canvas. Head I —48 Francis Bacon: Five Decades the Metropolitan in New York was painted on board and while the image is striking the texture is relatively conventional except where Bacon modelled the teeth and the ear to a low relief. Head II painted on the verso on raw linen had been layered up over several months. This was not something Francis Bacon: Five Decades ever did before or since. His paintings either came off rapidly or clogged and had to be destroyed. This was the exception. The paint surface was built up to what he described as being like Rhinoceros hide. Looking closely at this in Belfast I wondered at the strong horizontal striations that make up this hide like structure. Monet finished the paintings with relatively liquid strokes of paint that skipped over the crust below making the resulting swirling lines seem lighter and fractured as the brush skimmed the Francis Bacon: Five Decades points of the impasto beneath. The horizontal corrugations in the Bacon however seemed incomprehensible. Surely Bacon would not Francis Bacon: Five Decades painstakingly laid in the horizontal underpainting then brought the verticals in at the end? None the less as with Monet the effect was to make the vertical strokes of the curtains seem transparent as they skipped the corrugations. In his case the paint was not liquid but very dry probably with lead white that used to have a very sticky solid texture. It was only when we unpacked the beautifully sensual Melbourne painting, Study from the human body that I Francis Bacon: Five Decades how the corrugations had occurred. This painting has much thinner paint but it was also painted on the verso. You can see raw linen as part of the colouration of Francis Bacon: Five Decades curtain near the edges of the canvas. Towards the middle of the composition where the curtains open to reveal a black void the paint starts to build up and the same corrugations begin Francis Bacon: Five Decades show. What now became apparent was that Francis Bacon: Five Decades dry thick paint was pulled vertically down the canvas and as it moved over the surface it caught the weft of the canvas leaving horizontal ridges and when the vertical strokes were repeated they accumulated thicker ridges till the canvas disappeared. This was exactly how the corrugations in Head II were created. Bacon made no horizontal moves at all — everything is an interaction of the vertical brush stroke and the weave of the canvas. He travelled with his new lover Peter Francis Bacon: Five Decades to Tangier. It was a very unsettled and chaotic decade. He was mostly without a permanent studio and stayed with various friends during those years. Most of the paintings were created in series for specific exhibitions and were often hastily made with thin dry paint that revealed large areas of raw linen. In the exhibition there is a wall of figure studies inspired by Muybridge, these conform to that apparent speed of execution with overall vertical strokes that pass through the emerging images of human forms. On closer inspection however the spontaneity is undercut by surprisingly laboured touches of paint. Two examples that exemplify this observation are; Study for crouching nude from Detroit and Untitled figure from the Bacon Estate. The figure itself is hinted at with the use of very little paint and virtually no drawing of forms. The approximation to flesh colour in the body area is Francis Bacon: Five Decades raw linen. However on close inspection the few Francis Bacon: Five Decades brush marks that suggest the body turn out to be built up with slow stiff brush strokes. The paint has been mixed with sand Francis Bacon: Five Decades it bulky but also very slow Francis Bacon: Five Decades it was pushed onto the rough linen surface. I have speculated that the sand, that is far more common than museum captions suggest, is a way to reduce the risk of oil bleeding into the raw linen but it also has the effect of undercutting the idea of a loose free gesture. This figure casts a blue-black shadow, which unlike the body casting it is very substantial. The paint has been loaded up with sand and I suspect stand oil has been added since it has that sticky glossy bulk typical of that type of medium. The shadow looks like a sculpture of a shadow rather than the absence of light whereas the figure simply dissolves into the field. Bacon once said that shadows are like our ghosts but of course as an avowed atheist he did not believe in things like that. Later particularly in the s the shadows look like fluids seeping out of the body or else they take on the feel of emanations of the figure. The other painting, Untitled figureis more extreme. From a distance we can form the impression of crackling energy happening within a typical linear frame Francis Bacon: Five Decades cage. Francis Bacon: Five Decades am irresistibly drawn to think of Star Trek when Scotty beams up Spock and the figure glimmers into being out of nothing. The impression is again of very thin fast strokes of paint that leave much of the canvas exposed. From close up it becomes possible to see that the appearance of the figure has been summoned up by thickening short patches along the vertical stripes of the curtain Francis Bacon: Five Decades the lines pass through selected points on the manifesting body. It is our eyes that join up these dots to create the image of a figure. It is as if the vertical striations represent energy that brings the body into visibility. The head of the figure is the most Francis Bacon: Five Decades bit of painting. From a distance it gives the impression of a shadowy head or skull but it turns out to be a heavily modelled relief of a head. The ear is the most prominent feature. It looks more like laborious modelling in putty than spontaneous impasto brush marks. Bacon was at pains to assure us that he had learnt nothing about painting from tradition and made it all up as he went along. These works from the s and s clearly bear out this assertion. No one Francis Bacon: Five Decades had an idea about paint in the western tradition after Titian with its emphasis on the fluidity of the gesture and overall consistency of quality would ever have done these things. What is magical is that somehow presences are summoned up and when it works they get straight under our skin. As Bacon would say they impact directly onto the nervous system, they are never an illustration of appearance. In the following decades Bacon continued to invent new ways of making this happen; applying acrylics and oil paint with the brush, palette knife, fabrics, rollers, spray cans, applying the lids of paint tins and tubes to create circular motifs, incorporating dust and sand. In the book of the exhibition I have tried to demonstrate that this Francis Bacon: Five Decades part of an indexical realism that he espoused. Most of these innovations leave a trace of the real in the surface of the canvas. It is partly this that brings the sensation of the thing onto the nervous system. Click on the pictures below to enlarge. Cybernetic Serendipity. Contact us.