Francis Bacon was born in Dublin, Ireland, on October 28, 1909, to English parents. Raised with three siblings, Francis Bacon is a descendant of the sixteenth-century statesman and essayist of the same name. He left home at the age of sixteen and spent two years in Berlin, Germany, and Paris, France. In Paris he saw an art exhibit by the painter Pablo Picasso (1881–1973). Though he had never taken an art class, Bacon began painting with watercolors. He then settled in London, England, with the intention of establishing himself as an interior decorator and furniture designer. However, he soon turned to painting exclusively.
Bacon began oil painting in 1929. The few early paintings that survive (he destroyed most of them) show that he began as a late cubist (a twentieth-century movement that used geometric shapes). By 1932 he turned to a form of surrealism (using fantastic imagery of the subconscious) based partly on Pablo Picasso's works from about 1925 to 1928. Bacon began to draw attention in 1933 with his work Crucifixion, and the same year he took part in exhibitions in London.
Gains prominence after World War II
Bacon exhibited very rarely until 1945. It was only after World War II (1939–45; a war in which British, French, Soviet, and U.S. forces fought against Germany, Italy, and Japan) that his paintings became known outside his immediate circle of friends. At this time he also began to paint the human figure. The pictures that made his reputation are of such subjects as a melting head in front of a curtain and a screaming figure crouching under an umbrella. These extremely original works are impressive not only as powerful expressions of pain, but also for the magnificence of their presentation and professional quality.
By the early 1950s Bacon had developed a more direct treatment of the human figure, working almost always from photographs rather than from real life. Images taken from newspaper clippings or from the photographs of humans and animals by the nineteenth-century photographer Eadweard Muybridge were sometimes combined with images from the well-recognized paintings of the old masters. For instance, a series of paintings inspired by the portrait of Pope Innocent X by the Spanish painter Diego Velázquez (1599–1660) also uses a screaming face and eyeglasses that came from a close-up of a wounded nurse in Sergei Eisenstein's film The Battleship Potemkin. Such a combination of images drawn from completely unrelated sources is characteristic of Bacon's work.
Major themes and subjects
From the 1950s through the end of Bacon's painting career and life in the early 1990s, the consistent theme of his work was the isolation and pain of the individual, with a single figure (usually male) seated or standing in a small, windowless interior, as if confined in a private hell. His subjects were artists, friends, lovers, and even himself. His painting technique consisted of using rags, his hands, and dust along with paint and brush.
Bacon consistently denied that his paintings were used to explain his own life. The facts of his life, however, have tempted art critics and historians to draw links between his personal life and the subject matter of his paintings. One of the great tragedies of his life was the death of his longtime lover George Dyer, who apparently killed himself. Dyer's death occurred just before the opening of Bacon's major retrospective (a collection of the artist's work) in Paris, France, in 1971. Bacon's famous and moving Triptych (1973) was a three-paneled work of his dying friend hunched over a toilet, shadowed in a door frame and vomiting into a sink.
In a period dominated by abstract art, Bacon stood out as one of the few great representatives of the figure-painting tradition. During the last decade of his life major retrospective exhibitions were mounted at such sites as the Marlborough Gallery in New York, New York, in 1984, Moscow, Russia, in 1989, and the Museum of Modern Art in New York City in 1990. Bacon died of heart failure in Madrid, Spain, on April 28, 1992.
The year 1999 saw the release of the book Francis Bacon: A Retrospective, which analyzed the work of the artist. The book coincided with a national tour of many of Bacon's paintings.
two artists from regis
Joseph Gilbertson, untitled
cast, bronze, iron, rope, steet, wood 2008
Having a log be cast from metle and have pipe work inside of it is interesting, the outside looks natural as a log and rope but its a cast, and the inside is a net work of pipes. a very interesting idea, i want to inquire into it more.
David Brian Dodds, Untitled
The rotating flower look is what i enjoyed about this work. Itt was interesting from a distance and close up; It even appears to be moving as an optical allusion. I can really appreciate the time and effort that was put into it.
Film review I saw two films at MCAD, the first one was by
Stacy Leigh Garratt called Stilevans and the second by John Favara called
the dress. I liked The Dress the most, it had a good rythem to it with the
angles he chose and the styling all together. The music fit the story line
and I thought it to be humorus. The other one called the Stilevens I
enjoyed for the styling of shots and the usage of a single monologue to
convey the stories meaning that even without it would have been apparent in
the footage as in the first clip what the meaning was, but the was no in
the first clip voice acting wasn’t needed but in this one it added nicely
to the plot.
Theories on contemporary art are difficult to describe, but what I’ve come to understand is that contemporary art is about how all art is equal to itself rather than a high art low art idea, meaning that a form of art isn’t more important than another such as sculpture compared to scrapbooking. This influences current art by making a divers field for artistic development, new ideas on what is art have appeared. Once again my opinion is that the definition of art has changed from the amount of skill to the ability to convey the intended message to an audience. So some current art my look simple or minimalist but the attempt to make people appreciate the basic principles of art is what dives it.
I personally am influenced by the Pre-Raphaelites movement, the return to classic literature and illustrative nature of art. I enjoy trying to tell a story though a work rather than an abstract idea.
Some artists that I enjoy would be Dante Gabriel Rossetti, John William Waterhouse, and Norman Rockwell. All these artist are very illustrative and they use as much detail as they can manage, a style that I enjoy immensely. I don’t enjoy Van Gouge very much, he has some good work but I don’t like how he uses texture to make people, they always look sickly to me.
My work so far is very much about the figure and how the figure can display a range of messages to an audience, from posture to facial expressions I’m fascinated with how it can be interpreted.
My preference is the Nash gallery, there are several reasons for this; first of all the Nash has a more diverse collection that is rotated through continually from archives. Also it displays new art including that of students, so it’s better for wanting to know what’s going on in the art world at the moment. The Weismann is bigger but most of the art is a permanent installment. Also it being bigger there is supposed to be more art displayed in it (at least that’s a simple assumption to make) but the amount on display is roughly the same, so the Weismann seams more barren to me then the Nash making it less interesting. So to reinstate, I feel that the Nash gallery is better because it’s diverse and continues change of contemporary art.