The existential despair expressed by Jean-Paul Sartre in Nausea 1938 , 1 found a visual counterpart in the images of despair and alienation of Francis Bacon, the expressionism of Oskar Kokoschka and the apocalyptic visions of Arthur Boyd. In doing so, Bacon was taking a calculated risk. Self-Portrait was painted at the height of Bacon's career, in the period following the suicide of his former lover George Dyer in 1971. Ultimately ill fated, the new relationship nevertheless reinvigorated the artist, who had been left deeply affected by the loss of his great love, Peter Lacy in Tangiers two years earlier. As the photo of the two men taken in Bacon's studio at the Royal College of Art in 1952 tellingly reveals, Bacon would expound forth on his principles of painting and Freud would attend, deferential, readily listening to his mentor. London, The Tate Gallery, Recent British Painting, 1967, no. Often returning to his own image, Bacon frequently carried out small canvases of his head.
This square creates a pronounced focal point, pulling the eye to the head of the self-portrait as it emerges like a specter from the darkness. 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. Marina might be right, but this is the question about the prices at the art market. 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. Isolated within the confines of a dark ground, Bacon would paint his face with characteristic and unrelenting fervour, sweeping across the canvas and subverting all expectations associated with the genre. In 1967 Study for Self-Portrait was exhibited in the Tate Gallery's Recent British Painting: Peter Stuyvesant Foundation Collection, celebrating the pantheon of great British contemporary art.
For more information about the artwork, click! Bacon considered that those who found his portraits shocking or offensive, were themselves, cocooned in fantasy, in a world unable to confront uncomfortable truths. This exhibition later travelled to Stockholm, Moderna Museet and Dublin, Museum of Modern Art. The idea to use a triptych format was probably inspired by the expressionist paintings of Max Beckmann which Bacon would have seen in Berlin. Scroll down, and find out what are the most expensive Francis Bacon paintings at auctions! It's just that he rings me up all the time', but as Sylvester recounted, 'Francis always said that Lucian was the most entertaining and stimulating person he knew. Harrison, In Camera Francis Bacon: Photography, Film and the Practice of Painting, London, 2005, p. In Study for Self-Portrait, Bacon seeks this proximity and intensity, achieving in paint what remains impossible in life. The work comprises three slightly distorted self-portraits of the artist's face emerging from an enveloping black background.
Over the course of his career, Bacon undertook a number of portraits of Freud; the first in 1951 realised from memory and later from 1964-1973 based upon commissioned photographs by fellow Soho denizen and feted photographer John Deakin. The man appears to be screaming directly at a viewer, his mouth wide open and his teeth exposed. In one of the later interviews Bacon revealed his aims in painting: The living quality is what you have to get. Bacon and Freud became friends shortly after the Second World War, introduced by painter Graham Sutherland. Furnished through the reverse priming of the canvas, Bacon's deep hue permeates the composition, only to be covered later in washes of pale, nude pigment. If you can talk about it, why paint it? Exhibited London, Marlborough Fine Art Ltd.
His work was truly shocking: Bacon was a very overt atheist. Passionate about art, frequent visitor of exhibitions, Widewalls photography specialist. Here he explores the contradictions of Bacon's psyche: guilt about being homosexual versus a desire to flout convention; atheism mixed with an obsession with religious imagery; egotism tempered by near-saintly generosity. With superb reproductions of more than 130 studies and portraits, including those of Lucian Freud, George Dyer, John Edwards, Isabel Rawsthorne, Mick Jagger, Muriel Belcher and Henrietta Moraes, Bacon: Portraits and Self-Portraits offers new insight into these radical and disturbing images. 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. All Images used for illustrative purposes only. Three Studies for a Self-Portrait is an oil on canvas painting by the Irish born English artist.
I throw it with my hand. The Violation of 'Likeness' This motif of the dark, hatched, geometric frame foregrounding the head, recalls the small-scale, self-portraits Bacon undertook of his face and profile from 1967 onwards. The traditional frames were a device that associated his art with the dignity and substance of the old masters. All that remains at the point of disjuncture is a circular void, the detached flesh already decaying in the empty field beyond him. Harrison, In Camera Francis Bacon: Photography, Film and the Practice of Painting, London, 2005, p. While Bacon's self-portrait triptychs offer a stereoscopic view of the face, turning each cheek as if in front of a mirror, and implying movement in consecutive frames, Study for Self-Portrait spectacularly achieves this in one.
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. Hamburg, Kunstverein Hamburg, Francis Bacon: Gemälde 1945-1964, 1965-1966, no. With these powerful effacements, Bacon explores what he once described as the fine 'precipice' between abstraction and figuration, replacing 'likeness' with what he would later describe as the 'brutality of fact'. 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. As he once concluded, 'the living quality is what you have to get.
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. For more information about the sale, click! It was November 12, 2013, 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 introduction. In spite of his signature, post-cubist distortions, there is a palpable sense of Bacon's character translated through the swirling rhythms of paint in Study for Self-Portrait. He talked a great deal about the paint itself, carrying the form and imbuing the paint with this sort of life. The geometric form is the parallelepiped, a polyhedron with six faces that are parallelograms 3.
He is paralysed with pain and fear, and jolted with shocks from his golden throne which has been transformed from a symbol of authority into an instrument of torture. As the artist once concluded, 'I have deliberately tried to twist myself my paintings are, if you like, a record of this distortion. 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. Behind his head and against the painted wall, Bacon violently throws black pigment across the composition, as if intoxicated by some sudden rage. Calculation and Contingency: Francis Bacon's Mastery of Paint In Study for Self-Portrait, Bacon has established his composition over a saturated ground of midnight blue, recalling the dark atmosphere of his mid-1950s series of Man in Blue paintings.
The finish is violent yet remarkably controlled: the eyes, nose and plump lips dramatically contorted, yet still recognizably the artist's own. As Gilles Deleuze once emphatically and empathetically affirmed: 'yes, the face has a great future, but only if it is destroyed, dismantled' G. He expanded this point: When I look at you across the table, I don't see you but I see a whole emanation, which has to do with personality and everything else. Richard Calvocoressi's searching essay, Bacon: Public and Private, examines recent scholarship since Bacon's death in 1992. Despite his bleak existentialist outlook, solidified in the public mind through his articulate and vivid series of interviews with David Sylvester, Bacon in person was highly engaging and charismatic, articulate, well-read and unapologetically gay. Bacon quoted quoted in M.