Francis Bacon (1909 - 1992) is internationally recognized as one of the few great figure painters of our time. The anguished yet mysterious character of his work, the way he often painted from photographs and destroys a large part of his output, his formidable power and originality, have made him an almost a legendary figure.
The great monograph presented here is the first art album on Bacon - a well documented study of his life and work, and is considered to be the most comprehensive and indispensible art monograph on the artist. The catalogue raisonne, by Ronald Alley, a longtime staff member of the Tate Gallery in London and its first Keeper of the Modern Collection, includes reproductions of all Bacon's surviving paintings and even of some of the most important destroyed pictures, such as a black and white illustration of the painting Men with a Microphone dated 1946 (before it was destroyed of course).
The book makes it possible to see Bacon's whole development from 1929 up to the summer of 1963 and reveals interesting facts about his early career - he was a late starter and did not become a full-time painter until 1944, when he was thirty-nine. A number of widely held ideas about his paintings are shown to be based on a complete misinterpretation.
פרנסיס ביקון (1992 - 1909) נולד בדבלין למשפחת אצולה אירית - ילד אסטמתי שלא הסתדר עם אביו הנוקשה וברח או גורש אל העיר הגדולה בגיל צעיר. רבות סופר על אורח החיים ההומוסקסואלי המוחצן שלו ועל חיי ההוללות הפרועים שניהל - שתיה, הימורים, שברון לב - דרמה קוין אמיתי. אבל בשבילי הציורים שלו מקרינים עצב וייאוש, בדידות פנימית עמוקה, כמיהה אינסופית לאהבה בצד הבנה מפוכחת שאין לשום דבר משמעות.
The English art historian, Sir John Rothenstein, the director of the Tate Gallery, who organized the major retrospective exhibition of Bacon's work at the Tate in 1962, contributed an introduction which is a penetrating study of Bacon's art.
Hardcover: 292 pages including 206 monochrome & 27 tipped-in color plates
Publisher: Thames and Hudson, London, First edition (1964)
The imperious imagination of Francis Bacon has
earned him a place apart among English painters. Since the first showing of his
Three Studies for Figures at the Base of a Crucifixion in 1945, he has held
the attention of all those who feel that the monumental figure-subject is still
the highest form of art. It is Bacon's achievement that he has revived this
theme in a way that relates both to the great tradition of the European past and
to those other more precisely contemporary needs and anxieties which abstract
painting left un-assuaged.
If pressed to identify his subject-matter, Bacon said "The
History of Europe in My Lifetime" and many of his paintings are indeed
premonitory in their implications.
Francis Bacon by John Russell
John Russell's book is based on conversations with the artist which extended over several years and revealed much about his family background, his upbringing, his early life, his preferences in the art of the past, his forays into literature, and his ambitions, fulfilled or unfulfilled, in painting or sculpture. Bacon the man and Bacon the artist are brought into conjunction in a way that has never been attempted before. Russell presents the record of Bacon's major paintings in the text and in the selected illustrations, which include reproductions, in color fold-outs, of nine of the great triptychs which Bacon painted in the late 60s - a must have.
הרס עצמי - שתייה? סמים? בייקון השמיד עבודות שלא עמדו לדעתו בסטנדרטים המחמירים
שאליהם שאף - רק ארבע מעבודותיו הראשונות של פרנסיס ביקון מ-1929 שרדו עד היום.
בייקון המשיך להשמיד את עבודותיו גם בעשורים הבאים לחייו. למעשה, מספר היצירות
שהשמיד עולה על אלו שנותרו - בדירתו נמצאו מאות תמונות, חלקי תמונות ותצלומים
Hardcover: 242 pages, 161 illustrations,
74 in color, including 9 color fold-outs
Publisher: Thames and Hudson, London, First edition (1971)
ISBN-10: 0500490058 / 0-500-49005-8
Item: B1025 - Francis Bacon Monographs