Michael Peppiatt on Francis Bacon: Complete Bibliography Books

Total Page:16

File Type:pdf, Size:1020Kb

Michael Peppiatt on Francis Bacon: Complete Bibliography Books !Michael Peppiatt on Francis Bacon: Complete Bibliography! ! !Books! (David Sylvester : Interview with FB) French edition, Francis Bacon : l’art de l’impossible : entretiens aver David Sylvester, translated by Michel Leiris & Michael Peppiatt, preface by Michel !Leiris, Geneva : Editions Albert Skira, 1976, series ‘Les sentiers de la création’, 1976.! Michael Peppiatt : Francis Bacon : anatomy of an enigma. London : Weidenfeld & Nicolson, 1996 ; xviii, 366p ; paperback edition, London : Phoenix, 1997 ; US edition, New York : Farrar, Straus & Giroux, 1997 ; US edition, Boulder (CO) : Westview Press, 1998 ; Spanish edition, Francis Bacon : anatomia de un enigma, Barcelona : Gedisa Editorial, 1999 ; German edition, Francis Bacon : Anatomie eines Rätsels, Cologne : Dumont Buchverlag, 2000 ; French edition, Francis Bacon : anatomie d’une énigme, Paris : Flammarion, 2004 ; Japanese edition, Tokyo : Shinchosha, 2005 : revised edition, Francis Bacon : anatomy of an enigma, London : Constable, 2008 ; US revised !edition, New York : Skyhorse Publishing, 2009, Greece : Mikri Arktos, 2011.! !* Michael Peppiatt : Entretiens avec Francis Bacon 1963-89. Paris : L’Echoppe, 1998.! !* Michael Peppiatt : Francis Bacon à l’atelier. Paris : L’Echoppe, 1999.! !* Michael Peppiatt : Le regard de Bacon. Paris : L’Echoppe, 2004.! !* Michael Peppiatt : ‘L’amitié Leiris Bacon : une étrange fascination’. Paris : L’Echoppe, 2006.! Michael Peppiatt : Francis Bacon : studies for a portrait : essays and interviews. New Haven, London : Yale University Press, 2008 ; vii, 272p. Includes texts of three interviews with the artist, previously published in Cambridge Opinion, Jan. 1965, Art International, 1987, as ‘Reality conveyed by a lie’, & Art International, 1989, as ‘Provoking accidents, prompting chance’ ; & essays, ‘Francis Bacon at work’, pp.18-41 previously published in Art International, Sept. - Nov. 1984 ; ‘An obsession with popes’, pp.42-45, previously published as ‘Capturing the silent scream’ in Country Life, 8 Feb. 2007, pp.82-84 ; ‘Francis Bacon in the 1950s’, pp.46-95, revised version of text previously published in catalogue of 2006 Norwich exhibition ; ‘The sacred and the profane’, pp.96-117, earlier version previously published in catalogue of 2003 Valencia exhibition ; ‘Francis Bacon and the School of London’, pp.118-141, earlier version published in catalogue of 1987 Oslo exhibition A School of London : six figurative painters, & in catalogue of 1999 Musée Maillol exhibition ; ‘The legacy of genius : Van Gogh and Francis Bacon’, pp.150-165, previously published in catalogue of 2007 Neue Galerie, New York, exhibition Van Gogh and Expressionism ; ‘Mr. Bacon and Miss Beston’, pp.166-177, previously published in catalogue of Feb. 2006 Christie’s, London, sale of Valerie Beston’s collection ; ‘“All the pulsations of a person” : Francis Bacon’s portraits and self-portraits’, pp.178-187, earlier version previously published in catalogue of 2006 Christie’s, London, sale which included ‘Three studies for a self-portrait’, 1980 ; ‘A strange fascination : the friendship between Michel Leiris and Francis Bacon’, pp.198-237, previously published by L’Echoppe in 2006 ; ‘Bacon’s eyes’, pp.238-253, previously published in catalogue of !2003 Vienna exhibition, &, in revised version, in catalogue of 2006 Düsseldorf exhibition.! * Michael Peppiatt : Francis Bacon - Michel Leiris : eine Freundschaft. Vienna, Basel : Piet ! Meyer Verlag, 2009.! * Michael Peppiatt: Gespräche in Der Nacht. Francis Bacon über seine Arbeit. Vienna, Basel : ! Piet Meyer Verlag, 2011.! ! ! ! !Sections of books! The Francis Bacon interiors : Michael Peppiatt in conversation with Robert Priseman. Seabrook Press, Huddersfield Art Gallery, 2009 ; vii, 39p. Introduction by Robert Hall, ‘Francis Bacon : “Figure study II” : information / misinformation / disinformation : The Mystery of the Magdalen(e)’, !pp.1-5 ; afterword by Ann Marie Boyle, ‘Turning the key’, pp.35-39. ! Imagination’s Chamber : Artists and Their Studios. New York Graphic Society, Little, Brown and Company, Boston, 1982. ‘The Contemporary Spectrum’ (illustrated) , pp.204-205 ; ‘The !Contemporary Spectrum’ pp.218-219.! !L’Ecole de Londres, L’Echoppe, Paris, 2006. pp.7-8 ; pp.27-29 ; pp.35-36 ; pp.48-49 pp.54-55.! ! !Articles and reviews! Michael Peppiatt : ‘From a conversation with Francis Bacon’ [interviews from Aug. 1963 and Dec. 1963], in Cambridge Opinion, [Jan. 1964], no.37, pp.48-49 ; extract reprinted in catalogue of 1999 New Haven (etc.) exhibition, pp.41-42 ; reprinted in Michael Peppiatt : Francis Bacon : studies for a !portrait : essays and interviews, 2008, pp.14-17.! Michael Peppiatt : ‘Francis Bacon’s new paintings’ [review of New York exhibition], in Art !International, 20 Dec. 1968, vol.12 no.10, pp.35-38.! Michael Peppiatt : ‘The Art of Francis Bacon’ in Mundus Artium (Ohio), Winter 1968, vol.2 no.1, pp. !52-55.! !* Michael Peppiatt : ‘Francis Bacon : the last seven years’, in Art Spectrum (Lugano), Mar. 1975.! !Michael Peppiatt : ‘Francis Bacon’, in Le Monde, 3 Apr. 1975.! Michael Peppiatt : ‘Francis Bacon’s recent paintings’ [review of Metropolitan Museum of Art, New !York, exhibition], in The Financial Times, 26 Apr. 1975.! * Michael Peppiatt : ‘Francis Bacon and the waste land’, in Connaissance des Arts, May 1981 ; !revised version published in Art International, Sept. - Nov. 1984.! Michael Peppiatt : ‘Francis Bacon : the anatomy of enigma’, in Art International, Sept. - Nov. 1984, vol.27 no.4, pp.4-18 (revised & enlarged version of text previously published as ‘Francis Bacon and the waste land’ in Connaissance des Arts, May 1981) ; revised version reprinted as ‘Bacon at work’ !in Michael Peppiatt : Francis Bacon : studies for a portrait : essays and interviews, 2008, pp.18-41.! !* Michael Peppiatt : ‘Francis Bacon’, in Il Giornale dell’Arte (Turin), May 1985.! !* Michael Peppiatt : ‘Francis Bacon’, in Kunst og Kultur (Oslo), 1985, pp.46-59.! * Michael Peppiatt : ‘Francis Bacon : reality conveyed by a lie’ [interview], in Art International, Autumn 1987 ; extract reprinted in catalogue of 1999 New Haven (etc.) exhibition, pp.42-45 ; & in !Michael Peppiatt : Francis Bacon : studies for a portrait : essays and interviews, 2008, pp.142-149.! * Michael Peppiatt : ‘An interview with Francis Bacon : provoking accidents, prompting chance’, in Art International, Autumn 1989 ; reprinted in catalogue of 1999 New Haven (etc.) exhibition, pp. 46-50 ; & in Michael Peppiatt : Francis Bacon : studies for a portrait : essays and interviews, 2008, !pp.188-197.! * Michael Peppiatt : ‘Francis Bacon’, in Tribuna (Madrid), May 1992.! ! Michael Peppiatt : ‘Paris homage to Francis Bacon’ [review of exhibition], in R.A. Magazine, !Summer 1996.! Michael Peppiatt : ‘Francis Bacon revealed’ [extract from his biography of the artist], in The Times, !7 Oct. 1996, p.16.! Michael Peppiatt : ‘Two men made three, and nanny’ [extract from his biography of the artist], in !The Times, 8 Oct. 1996, p.14.! Michael Peppiatt : ‘The howl of an iconoclast’ [extract from his biography of the artist], in The !Times, 9 Oct. 1996, p.17.! Michael Peppiatt : ‘Bacon falls violently in love’ [extract from his biography of the artist], in The !Times, 10 Oct. 1996, p.19.! Michael Peppiatt : ‘Think of ju-ju’ [review of Tate Gallery exhibition], in The Times Literary !Supplement, 19 Mar. 1999.! ‘L’homme au bord de l’abîme’ [review of Paris exhibition, & interview with Michael Peppiatt], in !Pratique des Arts, 14 May 2004! !* Michael Peppiatt : ‘Bacon/Picasso : la vie des images’, in The Burlington Magazine, May 2005.! * Michael Peppiatt : ‘Mr. Bacon and Miss Beston’, in The Collection of the late Miss Valerie !Beston, Christie’s (London) sale catalogue, 8-10 Feb. 2006.! !* Michael Peppiatt : ‘Francis Bacon’s studio’, in The Burlington Magazine, July 2006.! Michael Peppiatt : ‘Capturing the silent scream’ [on the ‘Pope’ series], in Country Life, 8 Feb 2007, pp.82-84 ; reprinted as ‘An obsession with popes’ in Michael Peppiatt : Francis Bacon : studies for !a portrait : essays and interviews, 2008, pp.42-45.! Michael Peppiatt : ‘The legacy of genius : Van Gogh and Francis Bacon’, in catalogue of exhibition Van Gogh and Expressionism, Neue Galerie, New York, 23 Mar. - 2 July 2007, pp.63-74 ; reprinted in Michael Peppiatt : Francis Bacon : studies for a portrait : essays and interviews, 2008, pp. !150-165.! !* Michael Peppiatt : ‘Bacon’s popes’, in Country Life, Feb. 2008.! !* Michael Peppiatt : ‘The paradox of Francis Bacon’, in The Sunday Times, 28 Sept. 2008.! ! !Solo catalogues! Francis Bacon (62 works, illustrated). Museo d’Arte Moderna della Città di Lugano, Villa Malpensata, 7 Mar. - 30 May 1993 ; published by Electa, Milan. Texts by Ronald Alley, ‘Francis Bacon’s place in twentieth-century art’, pp.15-30, Hugh M.Davies, ‘The Screaming Pope : past art and present reality’ (previously published as 4th chapter of doctoral dissertation Francis Bacon : the early and middle years, 1928-1958), pp.33-66, Michael Peppiatt, ‘A vision fulfilled’, pp.69-114, Rudy Chiappini, ‘A splendid and desperate painting’, pp.117-130 ; catalogue-entries by Jill Lloyd & !Michael Peppiatt, pp.135-164 ; 180p.! Francis Bacon : important paintings from the Estate (probably 16 works, illustrated). New York, Tony Shafrazi Gallery, 31 Oct. 1998 - 16 Jan.1999. Texts by John Edwards, ‘Eggs was a diamond’ ; p.7, Tony Shafrazi, ‘Introduction’, pp.10-13 ; Sam Hunter, ‘Francis Bacon’s endgame : Humanism revisited’, pp.14-70 ; David Sylvester, ‘The supreme pontiff’, pp.24-27 (revised version
Recommended publications
  • Alberto Giacometti and the Crisis of the Monument, 1935–45 A
    UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures.
    [Show full text]
  • FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
    FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992 Francis Bacon was born in Dublin but moved to London in 1925, where he lived and worked from then on. His figurative painting became famous for his grotesque portrayal of his subjects and its somber depiction of the human condition. He represented Britain in the Venice Biennale of 1956 together with artists Ben Nicholson and Lucian Freud, and is considered one of the most remarkable British artists of all time, although anecdotically he turned down a CBE in 1960. Though his work was not well received at first (and as a result he destroyed most of his earlier paintings), his fame started to grow from the 40s until he became one of the better known and most valued artists in the world. His art has been shown internationally in places such as Mexico City (1977), Madrid (1978), Tokio (1983) Moscow (1988) or Washington (1989), and the Tate Modern of London dedicated three retrospective exhibitions to his work (in 1977, 1985, and posthumously in 2008). During his life he was represented by the Hannover Gallery and the Malborough Fine Art Gallery, and nowadays we can find his pieces in museums and art galleries all around the world, for example at the Reina Sofía of Madrid, the Centre Pompidou of Paris, the MoMA of New York or the Tate Modern in London, and a number of them are part of private collections. SOLO EXHIBITIONS (SELECTION) 2016 Francis Bacon: Invisible Rooms, Tate Liverpool, UK 2015 Francis Bacon And The Masters, Sainsbury Centre for Visual Arts, Norwich, UK 2014 Francis Bacon
    [Show full text]
  • Review2003/2004
    NPG_AR_04_text.film 10/12/05 9:52 AM Page 1 Review 2003/2004 2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2 This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval.
    [Show full text]
  • John Deakin and the Lure of Soho 11 April - 13 July 2014
    UNDER THE INFLUENCE: JOHN DEAKIN AND THE LURE OF SOHO 11 APRIL - 13 JULY 2014 12 December 2013 The Photographers’ Gallery presents Under the Influence: John Deakin and the Lure of Soho , an exhibition exploring the hidden corners and colourful characters of 1950s and early 60s London Soho, as seen through the eyes of John Deakin (1912 - 1972). Considered to be one of the greatest of postwar British photographers, Deakin was renowned for his penetrating portraits, haunting street scenes and striking fashion work. Though he flourished briefly at Vogue , it was the lure of nearby Soho with its pubs, clubs and subterranean watering holes that captured his interest most. Loved and loathed in equal measure by friends and drinking companions, Deakin was a legendary member of the quarter’s maverick crowd of artists, writers, poets and assorted characters and misfits. As its most famous chronicler with a camera, he is inextricably linked to Soho’s bohemian heyday in the two decades following the War. The exhibition will feature approximately seventy framed photographs and paintings, including rarely seen and un-shown works, arranged into four thematic groups. The first section will depict images of Soho landscapes – West End lights, street signs, urban nightscapes and graffiti –and portraits of artisans, tradesmen and outsiders. The second section will comprise portraits of Deakin’s circle of artists and friends. These include, among many others, the painters Lucian Freud, Frank Auerbach and Francis Bacon; for whom he famously took portraits on commission to be used as source material for paintings. It also includes the writers Dylan Thomas, Daniel Farson and Jeffrey Bernard, the celebrated beauty and artist’s model Henrietta Moraes and Muriel Belcher, proprietor of the fabled drinking den The Colony Room.
    [Show full text]
  • 65825 NPG - Lucian Freud Portraits Guide TEXT.Indd 1 09/02/2012 09:28 Man in a Chair
    Lucian Freud (1922–2011) was one of the great realist painters of the twentieth century. Freud had a life-long preoccupation with the human face and figure. Family, friends and lovers were his subjects and, sometimes, when no-one else was available, himself. Sitters were drawn from all walks of life, from the aristocracy to the criminal underworld, but he rarely took on commissions. Freud’s portraits often record the life of a relationship. Highly personal and private, they are an enigmatic record of time spent behind the closed door of the studio. The paintings demonstrate the unrelenting observational intensity of his work. The exhibition spans seven decades and is arranged broadly chronologically, beginning with his early explorations of the portrait. ‘I work from people that interest me and that I care about, in rooms that I live in and know’ Lucian Freud 65825 NPG - Lucian Freud Portraits Guide TEXT.indd 1 09/02/2012 09:28 MAN IN A CHAIR This is a portrait of Baron Hans Heinrich Thyssen-Bornemisza. Like so many of the paintings in this exhibition, it makes reference to the traditions of historical portraiture, in this case Diego Velázquez, while remaining thoroughly contemporary. This is a private view of a powerful figure; his gaze is downward and he sits beside the painter’s discarded rags, his feet cropped from the lower edge of the composition. Freud pays attention to the cut of the suit and the fabric is rendered in as much detail as flesh. Oil on canvas, 1983–5 Thyssen-Bornemisza Collections 65825 NPG - Lucian Freud Portraits Guide TEXT.indd 2 09/02/2012 09:28 I Freud’s fi rst subjects included self-portraits, portraits of his friend, the patron and collector peter watson, and his tutor, the painter Cedric Morris.
    [Show full text]
  • Scottee: Soho, the B and Ha of London's West End. A
    Scottee: Soho, the B and Ha of London’s West End. A playground of hedonism, of culture and of art. A place that push boundaries and in turn, drawing some of the country’s most iconic artists, with its seedy underbelly and faded glamour, amid which many artists found themselves when fame and wealth failed to materialize. My name is Scottee and Soho has always held a very special place in my heart. I cut my teeth as a performance artist, an artist and even a drag queen. Today, we’re taking a walk around Soho’s artistic past. Going around some of the pubs, the drinking clubs, restaurants, night clubs and member’s clubs, which took Soho’s artists from breakfast to bed. I’m going to be meeting Tate curators and veterans of the 1950s Soho scene along the way. [music] Man 1: Because we have to do something every day. [laughs] get you some more flower. This is my flower. Scottee: We’re on Dean Street, this is sort of the heart of Soho. It’s right bang in the middle of it and we’re outside the French House. It does feel like a place where you got to know the secret handshake to get in, so we’ll see how this goes. Art historian, Michael Peppiatt, was a polo-necked student when he first came here, to the French House. He was on an assignment for a student magazine to interview the painter Francis Bacon. A few bottles of wine and a few years later, Michael became Bacon’s good friend and biographer.
    [Show full text]
  • Distributed Art Publishers Art Distributed Artbook Spring 
    artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ​Show​Time:​The​50​Most​ “a fascinating survey of Influential​Exhibitions of​Contemporary​Art​ groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob.
    [Show full text]
  • Art Plural: Voices of Contemporary Art Online
    lxMsn [Free pdf] Art Plural: Voices of Contemporary Art Online [lxMsn.ebook] Art Plural: Voices of Contemporary Art Pdf Free Michael Peppiatt, Jane A. Peterson ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #3541200 in Books 2014-04-01Original language:EnglishPDF # 1 11.75 x 1.00 x 9.25l, 3.80 #File Name: 9810784082240 pages | File size: 57.Mb Michael Peppiatt, Jane A. Peterson : Art Plural: Voices of Contemporary Art before purchasing it in order to gage whether or not it would be worth my time, and all praised Art Plural: Voices of Contemporary Art: 0 of 0 people found the following review helpful. Excellent artistic selection and insights - I strongly recommend itBy MichaelIt was a great pleasure to read interviews and texts about the artists. I learnt a lot of insights from the artists themselves which is always an interesting and different perspective than a critic. I also discovered new artists thanks to wonderful images and a wide view on their work! I highly recommend this book to art lovers and collectors who are both looking for quality images and texts from the artists they like and discoveries of new talents. Art is now a globalized phenomenon, with artists communicating and interacting on an international scale as never before. So what does it mean to be a contemporary artist in a globalized world? In Art Plural: Voices of Contemporary Art, hear from world-renowned art historian and writer Michael Peppiatt as well as over 25 of the top contemporary artists, from East to West, working around the world in all corners of the earth.
    [Show full text]
  • No. 36 Autumn 2016
    Autumn 2016 FRIENDS No. 36 of the Non-Catholic Cemetery in Rome N E W S L E T T E R Our 300th anniversary exhibition opens! The Casa di Goethe on Via del Corso has seen numerous visitors coming to see At the foot of the Pyramid: 300 years of the cemetery for foreigners in Rome. We started with a press conference and formal inauguration for the sponsors, lenders of exhibits, authors of the catalogue, our governing ambassadors and other special guests. The following evening the vernissage attracted a large crowd, in- cluding several who had come from abroad especially for the event. Among the paintings that are temporarily back in the Roman con- text that originally inspired them, some are well-known, such as Jacques Sablet’s Élégie Romaine, and others have never previously been exhibited here. Preparing the exhibition has led to a mass of new information, so do purchase the catalogue: At the foot of the Pyramid: 300 years of the cemetery for foreigners in Rome. Edizioni AsKI e.V. / Casa di Goethe / Non-Catholic Cemetery in Rome, by Nicholas Stanley- Price, Mary K. McGuigan and John F. McGuigan Jr, 136 pages, 18.00 Euro. English edition: ISBN-13: 978-3-930370-40-5. It is on sale at the Casa di Goethe, the Cemetery and the Keats Shelley House and through their online shops. The exhibition is open every day except Mondays until November 13. For details and other asso- ciated events see www.casadigoethe.it. Jacques Sablet, Élégie Romaine, 1791 (Brest, Musée des Beaux-Arts) A puzzling photo by John Deakin The photo we reproduce here suggests immediately the Cemetery.
    [Show full text]
  • British Figurative Art Since 1950
    BRITISH FIGURATIVE ART SINCE 1950 Next week we will look at one of the most famous figurative artists, David Hockney, and this week we will cover eight figurative artists more briefly. Figurative art has long been a feature of British art and the artists most often associated with figurative art since WWII are those of the ‘School of London’. This is a term invented by artist R.B. Kitaj to describe a group of London-based artists who were pursuing forms of figurative painting in the face of avant-garde abstraction in the 1970s. Last term we looked at a few figurative artists who painted between 1900 and 1950 including: • John Singer Sargent (1856-1925), an American artist who worked in Britain and became the leading portrait painter of his generation. • Walter Sickert (1860-1942), a painter’s painter and one of the most influential British artists of the twentieth century. • Gwen John (1876-1939). Gwen John, was an intense and solitary artist who was described by her brother Augustus John as the better artist. • Augustus John (1878-1961) Augustus John was one of the most popular society portrait artists at the beginning of the twentieth century. • Laura Knight (1877-1970) Knight was a painter in the figurative, realist tradition who was among the most successful and popular painters in 1 Britain. In 1929 she was created a Dame, and in 1936 became the first woman elected to the Royal Academy since its foundation in 1768. • William Orpen (1878-1931) an Irish artist who worked mainly in London. William Orpen was a fine draughtsman and a popular, commercially successful, painter of portraits for the well-to-do in Edwardian society.
    [Show full text]
  • FRENCH HOUSE Auction Catalogue * 8 MAY 2021 Proud Supporters of the French House
    FRENCH HOUSE Auction catalogue * 8 MAY 2021 Proud supporters of The French House FRENCH HOUSE 02 AUCTION CATALOGUE FRENCH HOUSE Auction catalogue * 8 MAY 2021 Please register early to bid online as it can take 24 hours to verify new accounts: www.easyliveauction.com/register/ How can I register and bid in an auction? To register for any auction, simply click on the green Register to Bid button where the catalogue is listed, or directly on the catalogue. On the registration page, you’ll need to: Sign into your account. Verify your details. Choose/add your card. Choose your registration type. Check your update settings. Click Register to Bid. If you choose the FREE registration type, you may see a 10p deferred payment on your bank statement. Once you have successfully registered, the green Register to Bid button will then change to a ‘Bid Now’ button. Now you can leave Autobids before the sale. The day of the auction, you will also see a Bid Live button, however this will show as Bid Now until this point. Thank you. FRENCH HOUSE 03 AUCTION CATALOGUE FRENCH HOUSE Auction catalogue * 8 MAY 2021 Many, many, many thanks to our wonderful artists who have been so generous in helping us with this lovely auction, and especially to sculptor Anthony Hawken who came up with the idea in the first place! We have survived two world wars but we have been flattened by this pandemic! Despite an amazing £80, 000 raised from last year’s crowd funder and a very generous rent break from the landlords we find ourselves facing the merde hitting the fan, if you will pardon my French! To paraphrase Dan Farson, between the crisis and the catastrophe there is always time for a glass of champagne..and some fabulous, FABULOUS art! We are so lucky to be the meeting and stomping ground for so many hugely talented artists.
    [Show full text]
  • The Photographers That Chronicled Soho Life
    THE PHOTOGRAPHERS THAT CHRONICLED SOHO LIFE From left: Bruce Bernard, Portrait of Lucian Freud, 1985 © The Estate of Bruce Bernard. Courtesy of Virginia Verran; Daniel Farson, Portrait of Frank Auerbach, c. 1950s © The Estate of Daniel Farson; Craig Easton, The Death of Francis Bacon, Colony Room, Soho, London, 1982 © Craig Easton; Bruce Bernard, Francis Bacon standing in the doorway of his studio, 1984 © The Estate of Bruce Bernard. Courtesy of Virginia Verran Tales from the Colony Room: Art and Bohemia Exhibition dates: Until 20 December 2020 Dellasposa 2A Bathurst Street, London, W2 2SD An exhibition at London’s Dellasposa gallery celebrates the work of more than fifteen photographers who have over the last 70 years chronicled Soho life, in particular those that congregated at the notorious Soho drinking den, the Colony Room Club on Dean Street. Curated by the author of a recently published history of the club, Darren Coffield, the exhibition features work by John Deakin, Bruce Bernard, Michael Woods and David Bailey, amongst others. These are being shown alongside artworks by the club’s other famous members, including Francis Bacon, Lucian Freud, Frank Auerbach and Damien Hirst. Says gallery director Jessica Phillimore: ‘This exhibition shines a light on some of the greatest post-war British photographers in the 20th century. They managed to capture a period in the history of Soho which no longer exists. It is a great pleasure to bring these photographers together in one place for the first time and see the outstanding quality of their work.’ The Colony’s photographers snapped the great and the good, from Queen Elizabeth at Buckingham Palace to the dispossessed inhabiting the slums of London’s East End, testing to the limits the boundaries of both taste and technology.
    [Show full text]