Published by Royal Academy of Arts. Text by Stephen F. Eisenman, Catherine Howe, Michael Peppiatt, Anna Testar.
Despite his harsh habits of self-editing and a relatively late start, the British painter Francis Bacon produced a considerable body of work that continues to electrify. In 1969, Bacon became interested in bullfighting and painted a series of powerful works that evoke anguish and eroticism simultaneously in the contorted bodies of their beastly subjects. "Bullfighting is like boxing," Bacon once said. "A marvelous aperitif to sex.” Twenty-two years later, a single ghostly bull was the subject of his final painting. Ultimately, Bacon was most compelled by the human animal. His paintings frequently eschew the distinction between man and beast; he renders his human subjects as primitive creatures driven by base instincts such as pain and fear, while his animal subjects exude a strangely human sensibility.
This publication concentrates on the role of animals in Bacon’s work, with experts discussing his varied sources of inspiration, such as Surrealist literature and the photography of Eadweard Muybridge.
Francis Bacon (1909–92) began his career in furniture design and interior decoration until 1945, when his career as a painter took off. He enjoyed colossal success in his lifetime, especially as part of a London cohort that included contemporaries Lucian Freud and John Deakin.
Published by Heni Publishing. Edited by Martin Harrison. Forward by Majid Boustany. Contributions by Dr. Carol Jacobi, Eddy Batch, Catherine Howe, Dr. Darren Ambrose, Dr. Rebecca Daniels, Dr. James Wishart, Dr. Hugh Davies.
The first in-depth publication to uncover the long relationship Francis Bacon enjoyed with France, Monaco and French culture. Martin Harrison, the foremost expert on Bacon, brings a new light to a somewhat unexpected side of the artist’s life and work. It was in Paris in 1927, at an exhibition dedicated to Picasso, that Francis Bacon grasped his vocation as a painter. In 1946, he moved to Monaco on the French Riviera where he lived for four years, his time in the Principality marking a turning point in his art; with his “popes” series, he became a painter of the human figure. In Paris he befriended artists and intellectuals, such as Giacometti and Leiris, whilst the city would become the setting for the crystalisation of his reputation in 1971 with the retrospective at the Grand Palais. In 1975, Bacon would take a studio in the Marais district. This bilingual publication—co-published by Albin Michel and The Francis Bacon MB Art Foundation—tells of Bacon’s deep ties with France and Monaco, and has been overseen by Martin Harrison, author of Francis Bacon: Catalogue Raisonné.
Published by The Estate of Francis Bacon. Edited by Martin Harrison.
Editor Martin Harrison, following his appointment by the Estate of Francis Bacon, has devoted over a decade to the creation of this magnificent publication, the first-ever complete catalogue raisonné of the work of the great British painter. Including many previously unpublished paintings, this five-volume set allows Bacon’s oeuvre to be seen and assessed in its entirety for the first time, with all works reproduced in full color. The only previous Bacon catalogue raisonné was published in 1964, gathering only 37% of Bacon’s ultimate oeuvre, and featuring only 27 color reproductions. Only about half of the 584 paintings that survive are accessible to the public in exhibitions and publications; with Francis Bacon: Catalogue Raisonné, the painter’s entire oeuvre can be seen and assessed for the first time.
The catalogue, containing around 800 illustrations across five clothbound, hardcover volumes, includes three books comprising the study of Bacon’s entire working history, which are bookended by two further volumes: the first including an introduction, chronology and an indispensible index and users’ guide, and the second a catalogue of Bacon’s sketches with an illustrated bibliography. Beautifully produced and printed, the five volumes of Francis Bacon: Catalogue Raisonné are boxed within a handsome cloth slipcase.
“Francis Bacon (1909–92) is widely regarded as Britain’s greatest modern painter. Drawing on low-art sources, including photographs torn from magazines and imagery from films, coupled with a keen awareness of the rich historical tradition of painting stretching back to the Renaissance, Bacon developed a way of portraying the human body which was unique. His mastery of the medium of paint was recognized early. By 1946, the critic Kenneth Clark felt able to state simply: ‘Francis Bacon has genius’.” ––Francis Bacon (Tate Publishing, 2008)
Since 1970, Martin Harrison has published on 19th and 20th century art and photography and curated exhibitions in the UK (Victoria & Albert Museum; National Portrait Gallery; Ashmolean Museum), Italy, the USA and Mexico. He co-curated the Bacon exhibition at the Kunstsammlung Nordrhein-Westfalen, Dusseldorf in 2006, and Francis Bacon / Henry Moore: Flesh and Bone, The Ashmolean Museum, Oxford, 2013. His first publication on Francis Bacon was Points of Reference (Faggionato Fine Art, 1999), while other publications on the subject include In Camera: Francis Bacon – Photography, Film and the Practice of Painting, (Thames & Hudson, 2005) and Francis Bacon: Incunabula, with Rebecca Daniels, (Thames & Hudson, 2008). In 2009 he edited Francis Bacon – New Studies: Centenary Essays, a collection of nine original essays to celebrate the centenary of the birth of the artist.
Published by Ediciones Polígrafa. Text by Sam Hunter.
Irish-born English painter Francis Bacon (1909-1992) created work that remains unmatched in raw force and vitality, and he is widely considered one of the greatest artists of the twentieth century. Critic Ronald Jones has described his themes as "the howling subjects with which Bacon struggled--Existentialism, Abstract Expressionism and the primal drama of a world newly acquainted with the Bomb." Bacon was preoccupied with probing the isolation and terror of the human condition, which he chiefly conveyed through a labored distortion of the human body. As Sam Hunter--who penned one of the first major essays on Bacon in 1950--writes in his introductory essay to this volume, "what has become increasingly clear with the test of time...is the clarity, durability and powerful authority of his visual discourse." This concise monograph presents an in-depth survey of Bacon's entire oeuvre.
British artist Francis Bacon is one of the greatest painters of the twentieth century. His canvases of the 1940s bore witness to the traumatized psychology of the time and bestowed upon him a prominence that did not diminish in the course of his 50-year career. Recent auction sales have confirmed his works as some of the most sought-after of the Modern era.
Published by Ediciones Polígrafa. Text by Michel Leiris.
The painting of Francis Bacon (1909-1992) defines the shattered self-image of Europe in the aftermath of the Second World War, and his wracked human figures are now basic to the twentieth century's visual lexicon. Clearing away all moral scaffolding, Bacon made room for what he called "the brutality of fact" to implode onto his canvases, paring back his subjects to animal function and bloodlust. In Bacon the figure is almost always isolated and pitched against an unforgiving interior lit only by a bare light bulb (one could write an interesting history of the light bulb in art, tracking its trajectory from, say, Van Gogh to Vuillard's lamplight, to the desolate hanging bulbs of Bacon and Philip Guston). Francis Bacon had few better critics of his work than himself--as witnessed in this superb statement of intent to David Sylvester: "What I want to do is distort the thing far beyond the appearance, but in the distortion to bring it back to a recording of the appearance." But one of the few writers whose sensibility he trusted was the French author Michel Leiris. Leiris shared Bacon's feel for nerve-end acuity in art, as his great autobiography Manhood attests, and with Bacon's sanction, wrote the essay for Poligrafa's landmark monograph of 1987, which also included a selection of 240 key paintings made by Bacon himself. That volume, an essential text for Bacon fans and scholars, is here revised and reprinted for the first time.
Published by Museum of Contemporary Art, San Diego. Essay by Hugh M. Davies.
Francis Bacon: The Papal Portraits of 1953 explores the largest series of paintings made by the British artist Francis Bacon. For the first time, this book collects all eight Study for Portrait paintings, the famous "Study after Velazquez's Portrait of Pope Innocent X" from 1953 and several other works from the period. An essay by Hugh M. Davies, who has written extensively about Bacon, discusses his influences and sources of imagery for this body of work. Also included is a previously unpublished interview with Bacon that Davies conducted more than 25 years ago. Rounded out with a chronology and selected bibliography, Papal Portraits is a major document for the study of this vital and influential twentieth-century master.
BOOK FORMAT Hardcover, 7.75 x 10 in. / 80 pgs / 50 color / 6 bw.
PUBLISHING STATUS Pub Date 11/2/2001 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9780934418591TRADE List Price: $24.95 CDN $27.50 GBP £22.00