Bacon — was an Irish figurative painter known for his bold, grotesque and raw imagery. He was very interested in creating imagery that people would be attracted to impulsively, and in creating paintings that were meaningful, memorable. Fragments of a portrait. The Brutality of Fact Francis Bacon. Study for a Self-Portrait—Triptych, —86 is a triptych painted between and by the Irish born artist Francis Bacon.
Interviewing Francis Bacon: Unreliable Oral History
It is a brutally honest examination of the effect of age and time on the human body and spirit, and was painted in the aftermath of the deaths of many of his close friends. The crucifixion drawings, however, make perfect sense, and echo one of the strongest motifs in the exhibition. Everyday low prices and free delivery on eligible orders.
Interviews with Francis Bacon by David Sylvester. Francis Bacon and the Brutality of Fact 2K remaster. Francis Bacon artist - Wikipedia. Interviews with Francis Bacon captures remarkably on paper the tortured mind of the famous British painter It belongs on the shelf of every Bacon fan and artist, regardless of medium.
The Netherlands in the s.
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As an aspiring artist, I was deeply impressed by the ease and persuasiveness with which Bacon spoke about his unsettling paintings. Discover ideas about Francis Bacon. The brutality of fact : interviews with Francis Bacon.
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Interviews with Francis Bacon - Thames Hudson. Francis Bacon was an extraordinary and extreme artist and one of the greatest painters of the twentieth century. He was also a Right-wing elitist and individualist who approached the problem of creating art in the twentieth century with an honesty and intensity that have not really been matched.
The Brutality of Fact is a rich treasure trove gleaned from a series of discussions between the master artist and one of his most perceptive and sympathetic critics. Obviously, this book will therefore be invaluable to those who appreciate Bacon s work, but it is equally invaluable to anyone interested in art, art theory, and the creative. The end result of the written interviews gives the impression of two amiably talking art professionals, who both appear to be very eloquent and articulate.
This is a great accomplishment of Sylvester and co- editor Shena Mckay and not unimportant for his own image of an insightful art critic.
It is interesting though, that Bacon apparently got to see several draft versions of the eighth interview before it was published and got a chance to comment on it. The corrections in the manuscript seem to focus in particular on how Bacon wants his work to be described, such as his vision on realism, which in the published interview is connected to the work of Picasso and Van Gogh. In addition, it is obvious that Bacon felt very strongly about phraseology. However, this manuscript does not contain a lot of biographical data. The most biographical interview is the last ninth interview.
Part of the answers to the questionnaire however, return in this last interview. In , Andrew Brighton, an art historian and at the time senior curator of public programmes at Tate Gallery, held a public conversation with Sylvester to celebrate the publication of his book Looking back at Francis Bacon Brighton was curious to know whether he felt that Bacon had learned how to formulate his ideas about art through Sylvester, but he denied this forcefully.
Looking back, he regarded the first interview with Bacon as the best one. According to Sylvester one could argue that Bacon did not really develop his ideas after the first two inter- views, since he kept on drawing from them. At the time of the first publication of the collected Interviews in Sylvester had been criticized for not being objective. These exhibitions would not have been possible while Bacon was alive, Sylvester told Brighton, since Bacon would have definitely interfered.
Shortly after he died, the floodgates opened and this book is the consequence. Brighton started the public discussion by asking if Sylvester ever felt that Bacon was misleading him, for instance regarding the existence of preliminary sketches. Sylvester answered that he did see drawings on the last page of a paperback edition of poems by T.
The Brutality of Fact: Interviews with Francis Bacon | David Sylvester | Third Edition
Eliot, but that he regrettably did not confront Bacon about it. He felt that for artists it is essential not to expose everything to the public. Nonetheless, the drawings, over-painted photographs, and the hand-written notes, are of great importance. Today, these sources are an important focus of new research on Bacon, and one could say that they lead attention away from the work itself; something Bacon was very keen on preventing. But, as Sylvester rightfully argued: in order to interview an artist, one has to go along with his vision to a certain degree, or the interview will not go very smoothly or even come to an end.
Sylvester continued to say that as an interviewer, one should not interfere too much. Almost every text about Bacon contains quotations from them. As Sylvester rightfully mentions, the interviewer has a difficult position.
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In hindsight it is easy to criticise the interviewer for not being critical enough or for missing certain things, such as the existence of hand-written notes and sketches by Bacon. Moreover, he can be accused, as Sylvester was, for being used as a henchman. Endnotes 1. Sylvester , Looking back at Francis Bacon , p. They met in Sylvester , Interviews with Francis Bacon , p.
Tate Gallery. The importance of the friendship with Graham Sutherland for the development of his career as a painter has been described thoroughly by Martin Hammer, Bacon and Sutherland, New Haven and London See for instance, p. Sylvester , Interviews with Francis Bacon, p. Ibid, p. Brighton , Francis Bacon, p.
See for instance the catalogue Francis Bacon. Recent Paintings , London The Marlborough Fine Art Gallery did all kinds of other promotional activities, such as initiating retrospective exhibitions, like the one in Tate Gallery in This is discussed in my dissertation Leven als een kunstenaar. Invloeden op de beeldvorming van beeldend kunstenaars. Sylvester , Interviews with Francis Bacon , p I would like to thank Margarita Cappock, Head of Collection at Dublin City Gallery the Hugh Lane, for bringing the manuscripts of the interviews that were found in the studio to my attention.
Sylvester , Looking Back at Francis Bacon , p. Offering unparalleled access to the thought, work and life of one of the creative geniuses of the twentieth century, this book — with its subsequent revised and augmented editions — has become a classic. Sign up for our newsletter.
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