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Francis Bacon
Catalogue

Francis Bacon

Francis Bacon

Madrid 2/3/2009 - 4/19/2009

The selection of 78 paintings by Francis Bacon and archival objets, is presented in a partly chronological order and in various thematic sections corresponding to concepts of his work at different periods of his career, namely Animal, Zone, Apprehension, Crucifixion, Crisis, Archive, Portrait, Memorial, Epic and Late.

Following each of these principal sections, the visitor will be able to enter into the unique world of Bacon’s artistic obsessions. Contemplation of his works requires the highest level of concentration, an unprejudiced viewpoint and a mind and eyes open to the beauty of his technique and his brutally honest vision of the human condition, which made him a creative figure of universal stature.

Curator:
Manuela Mena. Chief curator of 18th Painting and Goya at the Museo del Prado.

Access

Jerónimos Building

Supported by:
Acciona
In collaboration with:
Comunidad de Madrid

Multimedia

Exhibition

Animal

Animal
Three Studies for Figures at the Base of a Crucifixion. Oil on board, 94 x 73.7 cm. c. 1944. London, Tate, presented by Eric Hall 1953.

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. 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.

Zone

Zone
Study after Velázquez’s Portrait of Pope Innocent X. Oil on canvas, 153 x 118 cm. 1953. Des Moines, Nathan Emory Coffin Collection of the Des Moines Arts Center, purchased with funds from the Coffin Fine Arts Trust.

In his paintings from the early 1950s, Bacon engaged in complex experiments with pictorial space. He started to depict specific details in the backgrounds of these works and created a nuanced interaction between subject and setting. Figures are boxed into cage-like structures, delineated ‘space-frames’ and hexagonal ground planes, confining them within a tense psychological zone. In 1952 he described this as “opening up areas of feeling rather than merely an illustration of an object”. Through his technique of ‘shuttering’ with vertical lines of paint that merge the foreground and background, Bacon held the figure and the setting together within the picture surface, with neither taking precedence in what he called “an attempt to lift the image outside of its natural environment”.

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.

Apprehension

Apprehension
Chimpanzee. Oil on canvas, 152.5 x 117 cm. 1955 Stuttgart, Staatsgalerie.

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.

Bacon’s interest in situations that combine banality with acute apprehension was also evident in other contemporary works. From figures of anxious authority, his popes took on malevolent attributes and physical distortions that were directly echoed in the paintings of animals, whose actions are also both sinister and undignified. Some of these images derived from Bacon’s close scrutiny of the sequential photographs of animals and humans taken by Eadweard Muybridge (1830-1904), which he called “a dictionary” of the body in motion.

Crucifixion

Crucifixion
Three Studies for a Crucifixion. Oil on canvas, 198.2 x 144.8 cm. 1962. New York, Solomon R. Guggenheim Museum.

Bacon made paintings related to the Crucifixion at pivotal moments in his career, which is why these key works are gathered here. The paradox of an atheist choosing a subject laden with Christian significance was not lost on Bacon, but he claimed, “as a non-believer, it was just an act of man’s behaviour”. Here the instincts of brutality and fear combine with a deep fascination with the ritual of sacrifice. Bacon had already made a very individual crucifixion image in 1933 before returning to the subject with his break-through triptych Three Studies for Figures at the Base of a Crucifixion in 1944. This is a key precursor to later themes and compositions, containing the bestial distortion of human figures within the triptych format. These monstrous creatures displace the traditional saints and Bacon later related them to the Eumenides —the vengeful furies in Greek mythology. 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”.

Crisis

Crisis
Paralytic Child Walking on All Fours (from Muybridge). Oil on canvas, 198 x 142 cm. 1961. The Hague, Collection Gemeentemuseum Den Haag.

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. In this rather unsettled context, he explored new methods of production, shifting to thicker paint, violently applied and so strong in colour as to indicate an engagement with the light of North Africa. This was most extreme in his series based on a self-portrait of Van Gogh, The Painter on the Road to Tarascon (1888, destroyed), which became an emblem of the modern predicament. Despite initial acclaim, Bacon’s Van Gogh works were soon criticised for their “reckless energy” and came to be viewed as an aberration. They can now be recognised as pivotal to Bacon’s further development, however, and allow glimpses into his search for new ways of working. His innovations were perhaps in response to American Abstract Expressionism, of which he was publicly critical. Although he eventually returned to a more controlled approach to painting, the introduction of chance and the new vibrancy of colour at this moment would remain through out his career.

Archive

Archive
Montage of material from Bacon’s Studio
7 Cromwell Place, c. 1950 (including pictures of Velázquez’s Innocent X, The Thinker by Rodin etc.) Copyright by Sam Hunter.

The posthumous investigation of Bacon’s studio confirmed the extent to which he used and manipulated photographic imagery. This practice was already known from montages recorded in 1950 by the critic Sam Hunter. Often united by a theme of violence, the material ranges between images of conflict, big game, athletes, film stills and works of art.
An important revelation that followed the artist’s death was the discovery of lists of potential subjects and preparatory drawings, which Bacon had denied making. Throughout his life, he asserted the spontaneous nature of his work, but these materials reveal that chance was underpinned by planning.

Photography offered Bacon a dictionary of poses. Though he most frequently referred to Eadweard Muybridge’s (1830-1904) survey of human and animal locomotion, images of which he combined with the figures of Michelangelo, he remained alert to photographs of the body in a variety of positions.

A further extension of Bacon’s preparatory practices can be seen in his commissioning of photographs of his circle of friends from the photographer John Deakin (1912-1972). The results —together with self-portraits, photo booth strips, and his own photographs— became important prompts in his shift from generic representations of the human body to portrayals of specific individuals.

A matrix of images

Bacon’s use of photographic sources has been known since 1950 when the critic Sam Hunter took three photographs of material he had selected from a table in Bacon’s studio in Cromwell Place, South Kensington. Hunter observed that the diverse imagery was linked by violence, and this fascination continued throughout Bacon’s life. Images of Nazis and the North African wars of the 1950s were prominent in his large collection of sources. Films stills and reproductions of works of art, including Bacon’s own, were also common. The dismantling of Bacon’s later studio, nearby at Reece Mews, after his death confirmed that the amassing of photographic material had remained an obsession. While some images were used to generate paintings, he also seems to have collected such an archive for its own sake.

The mediated image

From the 1960s, Bacon’s accumulation of chance images began to include a more deliberate strategy of using photographs of his close circle. They became key images for the development of the portraits that dominated his paintings at this time. Snap shots and photo booth strips were augmented by the unflinching photographs taken by his friend John Deakin. Bacon specifically commissioned some of these from Deakin as records of those close to him —notably his partner from 1962, George Dyer— and they served as sources for likenesses and for poses for the rest of his career.

The Physical Body

Bacon drew more from Eadweard Muybridge’s sequential photographs of human and animal locomotion than from any other source. These isolated the naked figure in a way he clearly found stimulating. He also, however, spoke of projecting on to them Michelangelo’s figures which for him had more “ampleness” and “grandeur of form”.
His fascination in photography’s freezing of the body in motion led him to collect sports photographs, particularly boxing, cricket and bullfighting. It was not just movement but the physicality of the body that Bacon scrutinised, using found images to provoke new ways of picturing its strength and vulnerability.

Portrait

Portrait
Portrait of Isabel Rawsthorne Standing in a Street in Soho. Oil on canvas, 198 x 147.5 cm. 1967. Berlin, Staatliche Museen zu Berlin, Nationalgalerie.

During the 1960s, the larger part of Bacon’s work shifted focus to portraits and paintings of his close friends. These works centre on two broad concerns: the portrayal of the human condition and the struggle to reinvent portraiture. Bacon drew upon the lessons of Van Gogh and Velázquez, but attempted to rework their projects for a post-photographic world. His approach was to distort appearance in order to reach a deeper truth about his subjects. To this end, Bacon’s models can be seen performing different roles. In the Lying Figures series, Henrietta Moraes is naked and exposed. This unprecedented raw sexuality reinforces Bacon’s understanding of the human body simply as meat. By contrast Isabel Rawsthorne, a fellow painter, always appears in control of how she is presented. With a mixture of contempt and affection, Bacon depicted George Dyer, his lover and most frequent model, as fragile and pathetic. This is especially evident in Dyer’s first appearance in Bacon’s work, in Three Figures in a Room, in which he represents the absurdities, indignities and pathos of human existence. Everyday objects occasionally feature in these works, hollow props for lonely individuals which reinforce the sense of isolation that Bacon associated with the human condition.

Memorial

Memorial
Triptych- August 1972. Oil on canvas, 198 x 147.5 cm. 1972.

This room is dedicated to 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 Bacon strove to avoid. But while evading narrative, 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 The Waste Land (1922). In addition to his own memory, for Triptych – August 1972 Bacon relied on photographs, taken by John Deakin, of Dyer in various poses on a chair. He confined his dense and energetic application of paint to the figures in these works. The dark openings consciously evoke the abyss of mortality that would become a recurring concern in Bacon’s later works.

Epic

Epic
Triptych. Oil on canvas, 198 x 147.5 cm. 1987. London, The Estate of Francis Bacon, courtesy Faggionato Fine Art.

References to poetry and drama became a central element in Bacon’s work from the second half of the 1960s. Alongside images of friends and single figures (often self-portraits), he produced a series of grand works that identified with great literature. Imbued with the inevitability and constant presence of death, the poetry of T.S. Eliot was a particular source of inspiration. The sentiments of the poet’s character Sweeney could be said to echo the painter’s perspective on life:

Birth, and copulation, and death.

That’s all the facts when you come to

brass tacks:

Birth, and copulation, and death.

The works in this room refer to and derive from literature. Some make direct references in their titles, others depict, sometimes abstractly, a certain scene or atmosphere within the narratives themselves. Bacon repeatedly stated that none of his paintings were intended as narratives, so rather than illustrations, these works should perhaps be understood as evoking the experience of reading of Eliot’s poetry or Aeschylus’s tragedies: their violence, threat or erotic charge. Thus, of the triptych created after reading Aeschylus, Bacon explained “I tried to create images of the sensations that some of the episodes created inside me”.

Late

Late
Portrait of John Edwards. Oil on canvas, 198 x 147.5 cm. 1988. The Estate of Francis Bacon, courtesy of Faggionato Fine Arts, London, and Tony Shafrazi Gallery, New York.

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. Exploring new techniques he also extended his fascination with how appropriate oil paint is for rendering the human body’s sensuality and sensitivity. A certain despairing energy may also be felt in the forceful throwing of paint that dominates some of these final works: the controlled chance as a defiant gesture. Ultimately, and appropriately, Bacon’s last triptych of 1991 returns to the key image of sexual struggle that had frequently recurred in his work. He faced death with a defiant concentration on the exquisiteness of the lived moment.

Francis Bacon

Francis Bacon
Three Studies for Self-Portrait
Oil on canvas, 37.5 x 31.8 cm
1979-1980
Nueva York, The Metropolitan Museum of Art, Jacques and Natasha Gelman collection, 1998

Francis Bacon is internationally acknowledged as among the most powerful painters of the twentieth century. His vision of the world was unflinching and entirely individual, encompassing images of sensuality and brutality, both immediate and timeless. When he first emerged to public recognition, in the aftermath of the Second World War, his paintings were greeted with horror. Shock has since been joined by a wide appreciation of Bacon’s ability to expose humanity’s frailties and drives. 

This major retrospective gathers many of his most remarkable paintings and is arranged broadly chronologically. Bacon’s vision of the world has had a profound impact. It is born of a direct engagement that his paintings demand of each of us, so that, as he famously claimed, the “paint comes across directly onto the nervous system”.

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. As a response to the challenge that photography posed for painting, he developed a unique realism which could convey more about the state of existence than photography’s representation of the perceived world. In an era dominated by abstract art, he amassed and drew upon a vast array of visual imagery, including past art, photography and film. These artistic and philosophical concerns run like a spine through the present exhibition.

Artworks

1

Study after Velazquez’s Portrait of Pope Innocent X

Oil on canvas, 153 x 118 cm

1953

Des Moines, Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center

2

Sam Hunter, Photo Collage (montage of material from Bacon’s studio)

c. 1950

Dublin City Gallery, The Hugh Lane

3

V. J. Staněk, Introducing Monkeys. With annotations by Francis Bacon

Book, 286 x 420 x 20 mm

c. 1957

Tate Library and Archive. 9810/5

London, Tate Gallery Archive

4

From Eadweard Muybridge, “Woman Walking Downstairs, Picking up Pitcher, and Turning”, plate 24 from Human Figure in Motion, 1955 edition

Bacon isolated the figure turning c. 1965, in preparation for the figure in the left-hand panel of Crucifixion (1965)

270 x 196 mm

Dublin City Gallery, The Hugh Lane

5

Figure Crawling

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

6

Study after Velazquez

Oil on canvas, 197.8 x 137.4 cm

1950

The Steven and Alexandra Cohen Collection

7

Black and white picture of wounded man 2

Photograph, 60 x 100 mm

No date

Dublin City Gallery, The Hugh Lane

8

Figure in a Mountain Landscape

Oil on canvas, 152 x 119 cm

1956

Zurich, Kunsthaus

9

Unknown photographer, Portrait of Francis Bacon Studio item 2

Monochrome photograph, 237 x 178 mm

c. 1972

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

10

The true aspects of the Algerian Revolution, produced by Ministère de l’Algerie, Cabinet de Ministre

Leaf showing images of severed and shattered limbs, book, 238 x 160 x 9 mm

Late 1957

Dublin City Gallery, The Hugh Lane

11

John Deakin, Isabel Rawsthorne in Dean St., Soho

Gelatine silver print, 303 x 305 mm

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

12

Pink Crawling Figure

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

13

Nigel Henderson, Three stressed photographs of male bathers

Studio item 40

Gelatine silver print, 127 x 890 mm

1950

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

14

Three Studies for a Self-Portrait

Oil on canvas, 37.5 x 31.8 cm (each)

1979

New York, The Metropolitan Museum of Art. The Jacques and Natasha Gelman Collection, 1998

15

Two Studies for a Portrait of George Dyer

Oil on canvas, 198 x 147.5 cm

1968

Tampere, Sara Hildén Foundation / Sara Hildén Art Museum

16

Head VI

Oil on canvas, 93.2 x 76.5 cm

1949

London, Arts Council Collection, Southbank Centre

17

Leaf from unidentified French magazine with black-and-white illustration of dead bodies in a damaged interior

302 x 232 mm

1970s-1980s.

Dublin City Gallery, The Hugh Lane

18

Figures in a Landscape

Oil on canvas, 150 x 107.5 cm

1956-57

Birmingham Museums & Art Gallery. Presented by the Contemporary Art Society, 1959

19

Portrait of George Dyer Riding a Bicycle

Oil on canvas, 198 x 147.5 cm

1966

Riehen/Basel, Fondation Beyeler

20

Untitled (Two Figures in the Grass)

Oil on canvas, 147.3 x 132.2 cm

c. 1952

London, The Estate of Francis Bacon, [por cortesía de] Faggionato Fine Arts, Londres y Tony Shafrazi Gallery, Nueva York

21

Three Figures in a Room

Oil on canvas, 198 x 147.5 cm (each)

1964

Paris, Centre Pompidou. Musée national d'art moderne / Centre de création industrielle. Achat de l'Etat 1968, attribution 1976

22

Overpainted reproduction of Bacon's 'Figures in a Landscape'

1956

Dublin City Gallery, The Hugh Lane

23

Roger Manvell, Film (1944) [film still from Eisenstein’s Battleship Potemkin, 1925?]

Book, 179 x 110 x 10 mm

London, Tate Britain Curatorial Department

24

Second Version of Triptych 1944

Oil and acrylic on canvas, 198 x 147.5 cm (each)

1988

London, Tate. Presented by the artist 1991

25

Mounted photoboth strip of Bacon (strip of passport photographs of Francis Bacon attached to paper fragments)

Gelatine silver print, fragments of paper, 215 x 57 mm

Date unknown

Dublin City Gallery, The Hugh Lane

26

Study for a Portrait

Oil on canvas, 152.2 x 118 cm

1953

Hamburg, Hamburger Kunsthalle

27

Triptych

Oil on canvas, 198 x 197.5 cm

1976

Private Collection

28

Jet of Water

Oil on canvas, 198 x 147.5 cm

1988

Private collection

29

Overpainted and mounted leaf with still of screaming nurse from Sergei Eisenstein's 'Battleship Potemkin'

16 x 17 mm

Dublin City Gallery, The Hugh Lane

30

Blood on Pavement

Oil on canvas, 198 x 147.5 cm

c. 1988

Private collection

31

Reproduction of ‘Study for crouching Nude’ (1952). Overpainted by Bacon.

1964

Dublin City Gallery, The Hugh Lane

32

Head II

Oil on canvas, 80 x 63.3 cm

1949

Belfast, Ulster Museum. Gift of the Contemporary Art Society, London

33

Jack Dempsey (verso Gene Tunney). Loose page taken from a boxing magazine. With overpainted photograph showing Jack Dempsey

275 x 208 mm

Tate Library and Archive. 9810/8, item 1

London, Tate Gallery Archive

34

Portrait of John Edwards

Oil on canvas, 198 x 147.5 cm

1988

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

35

Reproduction of Boxers. Studio item 25

Book page pasted onto the back cover of a book, 285 x 215 mm

No date

London The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

36

Francis Bacon, Edweard Muybridge, The Human Figure in Motion (ed. 1955)

With list of ideas for painting dated 2 January 1962 and a sketch in oils of a figure on a couch on half-title page, by Francis Bacon.Ill. Harrison, In camera p. 181, framed
Framed pages from book, 273 x 390 mm
Peter and Nejma Beard

37

Facsimile page 1: V.J. Staněk's Introducing Monkeys (London, c. 1957), with handwritten lists of works (11, 13, 17 December 1958)

Facsimile of book page, 286 x 211 mm

London, Tate Gallery Archive

38

Triptych Inspired by T.S. Eliot’s ‘Sweeney Agonistes’

Oil on canvas, 198 x 147.5 cm (each)

1967

Washington, D.C. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of the Joseph H. Hirshhorn Foundation, 1972

39

Triptych

Oil on canvas, 198 x 147.5 cm (each)

1987

London, The Estate of Francis Bacon, Faggionato Fine Arts

40

Man in Blue IV

Oil on canvas, 198 x 137 cm

1954

Vienna, Museum Moderner Kunst Stiftung Ludwig Wien, The Austrian Ludwig Collection

41

Two leaves with handwritten lists of works (page 1/2)

Paper, 180 x 110 mm

Tate Library and Archive. David Sylvester Archive 200816. David Sylvester, item 1

London, Tate Gallery Archive

42

Falling Figure

Pencil and oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

43

V. J. Stanek, introducing Monkeys, trans. by G. Theiner (London, Spring Books, c. 1957)

Leaf with handwritten notes in blue ink by Francis Bacon

Book. Blue ink, 284 x 212 mm

1958

Dublin City Gallery, The Hugh Lane

44

Study of a Dog

Oil on canvas, 198.1 x 137.2 cm

1952

London, Tate. Presented by Eric Hall 1952

45

Handwritten notes by Francis Bacon

Blue felt-tip pen on blank sheet of paper, 228 x 177 mm

Post. 1974

Dublin City Gallery, The Hugh Lane

46

John Deakin, Portrait of Peter Lacey Studio item 14

Gelatine silver print, 195 x 250 mm

c. 1959

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

47

Triptych – August 1972

Oil on canvas, 198 x 147.5 cm (each)

London, Tate. Purchased 1980

48

Leaf from unidentified French magazine with black-and-white illustration of a massacre, probably in Zaire

302 x 230 mm

Date unknown

Dublin City Gallery, The Hugh Lane

49

Albert von Schrenck-Notzing, Phenomena of Materialisation (1920)

Book, 251 x 348 x 100 mm

To be displayed open to image (fig. 64) opp. pg. 141.

London, private owner

50

Passport photo-strip of Francis Bacon

Gelatine silver print, 198 x 40 mm

c. 1950

Dublin City Gallery, The Hugh Lane

51

Figure bending forwards

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

52

Paralytic Child Walking on all Fours (from Muybridge)

Oil on canvas, 198 x 142 cm

1961

The Hague, Collection Gemeentemuseum Den Haag

53

Self Portrait with a Watch

Oil on canvas, 198 x 147.5 cm

1973

Private collection

54

Photo booth strip of Francis Bacon

Gelatine silver print, 200 x 40 mm

1960s

Dublin City Gallery, The Hugh Lane

55

Eadweard Muybridge, The Human Figure in Motion (ed. 1955)

Book, 279 x 208 x 25 mm

To be diplayed open to plate 56

London, Tate Britain Curatorial Department

56

Unknown photographer, Three photo strips of Francis Bacon, George Dyer and David Plante, Aix-en-Provence, 1966

Studio item 34

Gelatine silver print. Mounted on book cover, 259 x 220 mm

c. 1966-67

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

57

Blue Crawling Figure, No. 2

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

58

Black and white photographic contact sheets of wrestlers

Black and white photographic print, 400 x 505 mm

c. 1975

London, Courtesy of Michael Hoppen Gallery

59

Chimpanzee

Oil on canvas, 152.5 x 117 cm

1955

Stuttgart, Staatsgalerie

60

Study for a Portrait

Oil on canvas, 197 x 137 cm

1953

Bern, Hess Art Collection

61

Figure with Left Arm Raised

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

62

Figure in a Landscape

Oil on canvas, 144.8 x 128.3 cm

1945

London, Tate. Purchased 1950

63

John Deakin, George Dyer

Gelatine silver print, 302 x 304 mm

c. 1964

Dublin City Gallery, The Hugh Lane

64

Man in Blue V

Oil on canvas, 198 x 137 cm

1954

Düsseldorf, Kunstsammlung Nordrhein-Westfalen

65

Study of George Dyer in Mirror

Oil on canvas, 198 x 147.5 cm

1968

Madrid, Museo Thyssen-Bornemisza

66

Reclining Figure No. 2

Ballpoint pen and oil on paper, 22,2 x 15 cm

c. 1961

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

67

John Edwards by washbasin in 7 Reece Mews with Francis Bacon reflected in a mirror

Studio item 32

Gelatine silver print, 302 x 236 mm

No date

London, Estate of Francis Bacon

68

Crucifixion

Oil on canvas, 98 x 147.5 cm (each)

1965

Munich, Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne

69

Marius Maxwell, Stalking Big Game with a Camera in Equatorial Africa (1925)

Book, 317 x 513 x 70 mm

To be displayed open to p. 112

London, Tate Britain Curatorial Department

70

Three cuttings mounted on board with a needle

One leaf fragment from a book with black-and-white illustration of a Gustav Courbet painting of two lovers; one leaf fragment with two black-and-white images of nude wrestlers by Edweard Muybrigde; one cutting from a magazine with reproduction of ‘Painting’ (1946) and brief biography of Francis Bacon

293 x 401 mm

Date unknown

Dublin City Gallery, The Hugh Lane

71

Triptych

Oilon linen, 198.1 x 147.6 cm (each)

1991

New York, The Museum of Modern Art. William A. M. Burden Fund and Nelson A. Rockefeller Bequest Fund (both by exchange), 2003

72

Mounted leaf with black and white still of Emmanuelle Riva in Alain Resnais’ film ‘Hiroshima mon amour’ (1959)

324 x 248 mm

Date unknown

Dublin City Gallery, The Hugh Lane

73

Figure in Grey Interior

Pencil and oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

74

Leaf with black-and-white illustrations from Eadweard Muybridge, The Human Figure in Motion (Ed. 1955)

With handwritten note in blue ink by Francis Bacon, “Make shadow into separate unit”

310 x 235 mm

Date of note unknown

Dublin City Gallery, The Hugh Lane

75

Working document: ‘Men Wrestling’

Plate 69 from Eadweard Muybridge, The Human Figure in Motion, 1955 edition

197 x 273 mm

Dublin City Gallery, The Hugh Lane

76

Black and white picture of wounded man 1

Photograph, 60 x 100 mm

No date

Dublin City Gallery, The Hugh Lane

77

John Deakin, George Dyer and Francis Bacon in Soho Studio item 36

Gelatine silver print, 300 x 240 mm

c. 1960

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

78

Portrait of Isabel Rawsthorne

Oil on canvas, 81.3 x 68.6 cm

1966

London, Tate. Purchased 1966

79

Ludwig Goldscheider, The Sculptures of Michelangelo: Complete Edition (2nd ed. London 1950)

Book, 361 x 530 x 40 mm

To be displayed open to pages 117-118

Private owner

80

John Deakin, George Dyer (cut-out head). Thirteen pin-holes near top

Gelatine silver print, 227 x 152 mm

c. 1964, date of cut unknown

Dublin City Gallery, The Hugh Lane

81

Composition

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998
 

82

Crucifixion

Oil on canvas, 60.5 x 47 cm

1933

London, Murderme

83

Landscape Near Malabata, Tangier

Oil on canvas, 198 x 145 cm

1963

London, Private collection

84

Blue Crawling Figure, No. 1

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

85

John Deakin, Henrietta Moraes lying Naked on a Bed

Gelatine silver print, 240 x 300 mm

c. 1963

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

86

John Deakin, Henrietta Moraes lying on a Bed

Gelatine silver print, 252 x 72 mm (contact sheet fragment)

c. 1963

Dublin City Gallery, The Hugh Lane

87

Study of a Nude

Oil on canvas, 59.7 x 49.5 cm

1952–53

Norwich, Sainsbury Centre for the Visual Arts. Robert and Lisa Sainsbury Collection, University of East Anglia

88

Three Studies for Figures at the Base of a Crucifixion

Oil on board, 94 x 73.7 cm (each)

c. 1944

London, Tate. Presented by Eric Hall 1953

89

Overpainted magazine page showing Carpentier-Bogeyman to British Heavy-weights: Joe Backett v Georges Capentier (verso: The Revenge…: Schmeling batters young Joe). Loose pages from five taken from a boxing magazine

275 x 208 mm

Tate Library and Archive. 9810/8, item 2

London, Tate Gallery Archive

90

Facsimile of Images du Monde, 10

Facsimile of newspaper, 350 x 272 mm

(27 August – 10 September 1955)

Tate Library and Archive. 9810/6

London, Tate Gallery Archive

91

Leaf from unidentified book with black and white plate of a study by Michelangelo for an ignudo for the Sistine Chapel Ceiling 1508-12

317 x 233 mm

Date unknown

Dublin City Gallery, The Hugh Lane

92

Figure Lying No. 2

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

93

Figure Lying No. 1

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

94

John Edwards seated in an interior (Profile)

Gelatine silver print, 254 x 304 mm

Late 1970s

Dublin City Gallery, The Hugh Lane
 

95

Unknown photographer, Llegó la cornada. Studio item 4

Black and white photograph, 318 x 230 mm

No date

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

96

Figure in Movement

Oil on linen, 198 x 147.5 cm

1985

Lent to Tate from a private collection 2000

97

Two Owls, No. 2

Oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

98

Reclining Figure No. 1

Ballpoint pen and oil on paper, 23,8 x 15,6 cm

c. 1961

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

99

Leaf from Eadweard Muybridge, from The Human Figure in Motion (ed. 1955). Plate 60, with black-and-white plate series of two men wrestling

200 x 273 mm

Date unknown

Dublin City Gallery, The Hugh Lane

100

John Deakin, Portrait of Henrietta Moraes

Gelatine silver print, 295 x 250 mm

c. 1960

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

101

John Deakin, George Dyer in the Reece Mews Studio (sitting)

Gelatine silver print, 302 x 302 mm

c. 1964

Dublin City Gallery, The Hugh Lane

102

Rachael Low, Roger Manvel, The History of the British Film 1896-1906 (1948)

Book, 241 x 161 x 20 mm

London, Tate Britain Curatorial Department

103

Three Studies for a Crucifixion

Oil on canvas, 198.2 x 144.8 cm (each)

1962

New York, Solomon R. Guggenheim Museum

104

John Deakin, George Dyer standing in Underpants in Francis Bacon’s Studio (leaning)

Gelatin silver print, 303 x 305 mm

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

105

Triptych – In Memory of George Dyer

Oil on canvas, 198 x 147.5 cm (each)

1971

Riehen/Basel, Fondation Beyeler

106

Figure Study II

Oil on canvas, 198 x 137 cm

1953-55

Private Collection

107

Three Studies for Portraits including Self-Portrait

Oil on canvas, 35.5 x 30.5 cm (each)

1969

Private collection

108

Facsimile page 3: V.J. Staněk's Introducing Monkeys (London, c. 1957), with handwritten lists of works (11, 13, 17 December 1958)

Facsimile of book page, 286 x 211 mm

London, Tate Gallery Archive

109

Study for Portrait II (after the Life Mask of William Blake)

Oil on canvas, 61 x 50.8 cm

1955

London, Tate. Purchased 1979

110

John Deakin, Isabel Rawsthorne in Dean St., Soho

Gelatine silver print, 305 x 303 mm

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

111

Figure Study I

Oil on canvas, 123 x 105.5 cm

1945–46

Edinburgh, Scottish National Gallery of Modern Art. Accepted by H.M. Government in lieu of inheritance tax on the Estate of Gabrielle Keiller and allocated to the ScottishNational Gallery of ModernArt in 1998

112

John Deakin, Portrait of Peter Lacey

Gelatine silver print, 255 x 207 mm

c. 1959

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

113

John Deakin, Henrietta Moraes on a bed

Gelatine silver print, 207 x 249 mm

c. 1963

Dublin City Gallery, The Hugh Lane

114

John Deakin, Isabel Rawsthorne in Dean St., Soho

Gelatine silver print, 305 x 303 mm

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

115

Study from Portrait of Pope Innocent X

Oil on canvas, 198 x 147.5 cm

1965

Private collection

116

Portrait of Isabel Rawsthorne Standing in a Street in Soho

Oil on canvas, 198 x 147.5 cm

1967

Berlin, Staatliche Museen zu Berlin, Nationalgalerie

117

Mounted leaf torn from unidentified book with colour illustration of three cricketers, ‘2nd test India V Calcutta’

304 x 388 mm

Date unknown

Dublin City Gallery, The Hugh Lane

118

John Deakin, Isabel Rawsthorne in Dean St., Soho

Gelatine silver print

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

119

Head I

Oil and tempera on board, 100.3 x 74.9 cm

1947–48

New York, The Metropolitan Museum of Art. Bequest of Richard S. Zeisler, 2007

120

John Deakin, George Dyer standing in Francis Bacon’s Studio (covering himself)

Studio item 28

Gelatine silver print

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

121

Study for Crouching Nude

Oil on canvas, 198 x 137.2 cm

1952

Detroit, The Detroit Institute of Arts. Gift of Dr. Wilhelm R. Valentiner

122

Mounted leaf from Eadweard Muybridge, The Human Figure in Motion, with black-and-white plate series of a man shadow-boxing. Black over-painting by Francis Bacon on image ‘II’

210 x 330 mm

Date of edition and intervention unknown

Dublin City Gallery, The Hugh Lane

123

Study from the Human Body

Oil on canvas

198 x 147.5 cm

1981

Private collection

124

Figure with Foot in Hand

Ballpoint pen and oil on paper, 27 x 34 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

125

John Deakin, Lucian Freud on Bed

Gelatine silver print, 298 x 303 mm

c. 1964

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

126

John Deakin, Lucian Freud on Bed

Gelatine silver print, 298 x 292 mm

c. 1964

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

127

Man with Dog

Oil on canvas, 152 x 117 cm

1953

Buffalo, Albright-Knox Art Gallery. Gift of Seymour H. Knox, Jr. 1955

128

Facsimile page 2: V.J. Staněk's Introducing Monkeys (London, c. 1957), with handwritten lists of works (11, 13, 17 December 1958)

Facsimile of book page, 286 x 211 mm

London, Tate Gallery Archive

129

Triptych

Oil and pastel on canvas, 198 x 147.5 cm (each)

1983

Colección Juan Abelló

130

John Deakin, Portrait of George Dyer

Gelatine silver print

c. 1960

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

131

Facsimile page 4: V.J. Staněk's Introducing Monkeys (London, c. 1957), with handwritten lists of works (11, 13, 17 December 1958)

Facsimile of book page, 286 x 211 mm

London, Tate Gallery Archive

132

John Deakin, Muriel Belcher

Gelatine silver print

c. 1965

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

133

Study for the Nurse from the Battleship Potemkin

Oil on canvas, 198 x 142 cm

1957

Frankfurt, Städel Museum

134

Illustration of Viktor Bulla's photograph of Nevsky Prospekt demonstrators being fired on in Petrograd, 17 July 1917

Black and white newspaper cutting

Tate Library and Archive. David Sylvester Archive 200816. David Sylvester, item 3

London, Tate Gallery Archive

135

Pope I – Study after Pope Innocent X by Velazquez

Oil on canvas, 197.8 x 137.4 cm

1951

Aberdeen Art Gallery & Museums Collections

136

Three Studies for a Portrait of George Dyer

Oil on canvas, 35.3 x 35.5 cm (each)

1963

Private Collection

137

K.C. Clark, Positioning in Radiography, London, 1939

Leaf (p. 19) torn at bottom left with five illustrations concerned with the spine, page heading reads: Vertebral Column, Cervico-thoracic region

Book, 291 x 227 mm

Dublin City Gallery, The Hugh Lane

138

Study for Portrait of Van Gogh VI

Oil on canvas, 198.1 x 142.2 cm

1957

London, Arts Council Collection, Southbank Centre

139

Bending Figure, No. 2

Ballpoint pen and oil on paper, 34 x 27 cm

c. 1957-61

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

140

Manuel Granero Killed in the Madrid Ring. Studio item 26

Black and white page torn out of a book, 145 x 216 mm

No date

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

141

John Deakin, Lucian Freud on Bed

Gelatine silver print, 297 x 303 mm

c. 1964

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

142

Turning Figure

Oil on paper, 33,9 x 26,3 cm

c. 1959-62

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

143

Study from the Human Body

Oil on canvas, 147 x 134.2 cm

1949

Melbourne, Australia, National Gallery of Victoria. Purchased, 1953

144

Ludwig Goldscheider, Wilhelm Uhde, Vincent Van Gogh (London 1945)

Book, 361 x 530 x 45 mm

To be displayed open to figs. 68 & 69, or fig. 69 to be lifted out and displayed loose.

Private owner

145

Study of a Baboon

Oil on canvas, 198.3 x 137.3 cm

1953

New York, The Museum of Modern Art. James Thrall Soby Bequest, 1979

146

Nicole Vedrès, Images du Cinéma Français (1945)

Book, 280 x 430 x 35 mm

To be displayed open to p. 106 (fig. 187)

London, Tate Britain Curatorial Department

147

Loose sheet with autograph of Francis Bacon, dated 10 December 1957 and headed ‘The Series of Nudes’

Pen on paper, 270 x 208 mm

London, Tate Gallery Archive

148

Leo Longanesi, Il Mondo cambia. Storia di cinquant’anni 1900-1950 / The world is changing. History of Fifty Years 1900–1950

Book, 316 x 236 x 36 mm

To be displayed open to double spread of images entitled ‘Prigionieri e internati civili in Austria’ and ‘1916. Natale di Guerra’

Private owner

149

Eadweard Muybridge, The Human Figure in Motion (1907)

Book, 248 x 313 x 28 mm

To be displayed open to plate 63

London, Tate Britain Curatorial Department

150

John Deakin, Lucian Freud on Bed

Gelatine silver print, 300 x 293 mm

c. 1964

London, The Estate of Francis Bacon, Faggionato Fine Arts, London and Tony Shafrazi Gallery, New York

151

Figure Study II

Oil on canvas, 145 x 129cm

1945–46

Huddersfield Art Gallery

152

Two leaves with handwritten lists of works (page 2/2)

Paper, 180 x 110 mm

Tate Library and Archive. David Sylvester Archive 200816. David Sylvester, item 2

London, Tate Gallery Archive

153

Henrietta Moraes

Oil on canvas, 146 x 152 cm

1966

Private collection

154

Triptych Inspired by the Oresteia of Aeschylus

Oil on canvas, 218.5 x 167.5 cm (each)

1981

Oslo, Astrup Fearnley Collection

155

Lying figure

Oil on canvas, 198 x 147.5 cm

1969

Riehen/Basel, Fondation Beyeler

156

Figure in a Landscape

Pencil and oil on paper, 33,9 x 26,3 cm

c. 1952

London, Tate. Purchased with assistance from the National Lottery through the Heritage Lottery Fund, The Art Fund and a group of anonymous donors in memory of Marion Tazzoli 1998

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