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Francis Bacon: A Centenary Retrospective

Francis Bacon: <EM>Portrait of John Edwards</EM>Oil on canvas, 198 x 147.5 cm. 1988&copy; The Estate of Francis BaconAll rights reserved. DACS, London 2009 Photo courtesy of The Metropolitan Museum of Art
Francis Bacon: Portrait of John Edwards
Oil on canvas, 198 x 147.5 cm. 1988
© The Estate of Francis Bacon
All rights reserved. DACS, London 2009
Photo courtesy of The Metropolitan Museum of Art
Francis Bacon: A Centenary Retrospective
NEW YORK  •  The Metropolitan Museum of Art  •  Ongoing

Francis Bacon: A Centenary Retrospective features 130 works (65 paintings and 65 archival items) that span the entirety of the artist’s career.

From the 1940s to his death the Irish-born British figurative painter, Francis Bacon  (1909 –1992) worked consistently as a painter, ignoring other passing, fashionable trends in art. Throughout his career, the human figure was the dominant subject in his work: his paintings of men and women go far beyond a simple likeness and instead are portraits of complex psychological states. Nevertheless, when Francis Bacon first emerged to public recognition, in the aftermath of the Second World War, his paintings were greeted with horror.

As an atheist, Bacon sought to express what it was to live in a world without God or afterlife. By setting sensual abandon and physical compulsion against hopelessness and irrationality, he showed the human as simply another animal.

A philosophical attitude to human nature first emerges in Francis Bacon’s works of the 1940s. They reflect his belief that, without God, humans are subject to the same natural urges of violence, lust and fear as  any other animal. He showed Figure in a Landscape and Three Studies for Figures at the Base of a Crucifixion in April 1945, and exhibited consistently thereafter. In resuming the theme in the 1960s, especially in 1962 as the culmination of his first Tate exhibition, Bacon used references to Cimabue’s 1272-1274 Crucifixion to introduce a more explicitly violent vision. Speaking after completing the third triptych in 1965 he simply stated: “Well, of course, we are meat, we are potential carcasses”.

The bestial depiction of the human figure was combined with specific references to recent history and especially the devastating events of the Second World War. Bacon often drew his inspiration from reproductions, acquiring a large collection of books, catalogues and magazines. He repeatedly studied key images in order to probe beneath the surface appearance captured in photographs. Early concerns that would persist throughout his work include the male nude, which reveals the frailty of the human figure, and the scream or cry that expresses repressed and violent anxieties. These works are among the first in which he sought to balance psychological insights  with the physical identity of flesh and paint.

A theme that emerged in the 1950s was the extended series of variants of Velázquez’s Portrait of Pope Innocent X, 1650 (Rome, Galleria Doria Pamphilj), a work Bacon knew only from illustrations. He used this source to expose the insecurities of the powerful —represented most often in the scream of the caged figure. Through the open mouth Bacon exposed the tension between the interior space of the body and  the spaces of its location, which is explored more explicitly in the vulnerability of the ape-like nudes.

Implicit throughout Bacon’s work of the mid 1950s is a sense of dread pervading the brutality of everyday life. Not only a result of Cold War anxiety, this seems to have reflected a sense of menace at a personal level emanating from Bacon’s chaotic affair with Peter Lacy (who was prone to drunken violence) and the wider pressures associated with the continuing illegality of homosexuality. The Man in Blue series captures this atmosphere, concentrating on a single anonymous male figure in a dark suit sitting at a table or bar counter on a deep blue-black ground. Within their simple painted frames, these awkwardly posed figures appear pathetically isolated.

Between 1956 and 1961, Bacon travelled widely. He spent time in places marginal to the art world, in Monaco, the South of France and Africa, and particularly with Peter Lacy in the ex-patriot community in Tangier.

Another key figure was that of George Dyer who was Bacon's most important and constant companion and model from the autumn of 1963. He committed suicide on 24 October 1971, two days before the opening of Bacon's major exhibition at the Grand Palais in Paris.

Influenced by loss and guilt, the painter made a number of pictures in memorial to Dyer. From this period onwards the large-scale triptych was his established means for major statements, having the advantage of simultaneously isolating and juxtaposing the participating figures, as well as guarding against narrative qualities that he strove to avoid.

But while evading narratives, Bacon drew more than ever from literary imagery; the first of the sequence, Triptych In Memory of George Dyer 1971, refers to a specific section of T.S. Eliot's poem The Waste Land.

When Bacon turned seventy in 1979, more than a decade of work lay ahead of him. Neither his legendarily hedonistic lifestyle nor his work pattern seemed to age him, but he was continually facing up to mortality through the deaths of those around him. This unswerving confrontation, however mitigated by youthful companions such as John Edwards, became the great  theme of his late style. Constantly stimulated by new source material —for example the photographs and the poetry of Federico García Lorca which triggered his bullfight paintings — he was able to adapt them to his abiding concerns with the vulnerability of flesh.

The Metropolitan Museum of Art Website

Contact: The Metropolitan Museum of Art
1000 Fifth Avenue
New York, New York 10028
Tel: (1) 212 535 77 10

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