51 (right panel), 207, Norwich: Sainsbury Centre for Visual Arts Crucifixion is a 1965 triptych painted by the Irish-born artist Francis Bacon.Across each of the three panels, the work shows three forms of violent death. 15, p. 18; No. 19 Oct. 1985-5 Jan. 1986, Berlin: Nationalgalerie Four canvasses removed from Bacon’s studio in 1978 appeared on the market in April 2007, and a further five, from a separate source, were sold in June 2007; six fragments of canvas which had been given in the 1950s to the Cambridge artist Lewis Todd, who painted on their primed sides, were auctioned in March 2013. A compelling reason for ceasing to adopt these categories is that of the nine paintings Alley listed as ‘Destroyed’ in 1964, four in fact survive. Study for portrait of henrietta moraes on a red ground 1964. It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. 150-151, Francis Bacon - New Studies: Centenary Essays, Rome: Galleria Borghese Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete (by burning the fragments, for example). Alley numbers, for example (Alley 106), are those assigned to each painting in the first catalogue raisonné, Ronald Alley and John Rothenstein, Francis Bacon (London: Thames & Hudson; New York: Viking Press, 1964). 12 Sep. 2013-5 Jan. 2014, New York: Gagosian Gallery Moreover, if Fragment of a Crucifixion, 1950 (50-02), in which more than half of the canvas is unpainted, was considered by Bacon a ‘finished’ painting, it is counterintuitive to categorise ‘Lying Figure’, c.1953 (53-21), for example, as ‘unfinished’. 2003, p. 112; ill. No. 2007, Buffalo: Albright-Knox Art Gallery Furthermore, for the ‘post-Alley’ years, 1963 to 1991, the titles established by Bacon and Marlborough Fine Art have been adopted consistently; for example, although Painting, 1980 (80-09) was exhibited in 1999 with the descriptive title Three Figures, One with a Shotgun, subsequent research has shown that its original title was Painting, and has been reverted to here. Bacon's new paintings: African animals', 'Mr. 52, 53, 53, p. 93 (b&w); No. 7 Mar. with Thames & Hudson, New York: Harry N. Abrams, The Brutality of Fact: Interviews with Francis Bacon, pp. Francis Bacon: Caged, Uncaged (48 works, 62 items of studio material). Edvard Munch Norwegian Printmaker. 22 May. 2 Mar. «Crucifixion» – Francis Bacon, 1965. The photography dates provide key data, therefore, in the chronology of paintings. 2005, In Camera: Francis Bacon, Photography, Film and the Practice of Painting, Norwich: Sainsbury Centre for Visual Arts 1993-10 Oct. 1993, Francis Bacon: 'Taking Reality by Surprise', London: Hayward Gallery Margarita Cappock published them in 2005 under the heading ‘Destroyed Canvasses’, which raised questions regarding Bacon’s intentions with the destructions. 943), a letter from Ronald Alley appear in the 'Correspondence' section, p. 144, in response to Gowing's article, adding a few details regarding Bacon's interest in x-ray photographs. 24 May. Paintings were usually sent to be photographed shortly after leaving Bacon’s studio. Edinburgh: National Galleries of Scotland in association with the British Council, In Camera: Francis Bacon, Photography, Film and the Practice of Painting, pp. 201, p. 115 (left panel), Paris: Musée Picasso methodology and thinking behind the compilation and presentation of some data, such as titles, dates and media. The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. 13-14 (foldout), London: Thames & Hudson, New York: Harry N. Abrams, Francis Bacon: The Early and Middle Years, 1928-1958, London: Tate Gallery Francis Bacon/Henry Moore: Flesh and Bone (20 works). This triptych was the third such which Bacon painted related to the Crucifixion, and follows 1944's Three Studies for Figures at the Base of a Crucifixion, and the Three Studies for a Crucifixion of 1962. Bare Life: Bacon, Freud, Hockney and others. Lucian Freud British Painter. Chicago and London: The University of Chicago Press, pp. 5 Feb. 1998-5 Apr. 29 Jan. 2007-15 Apr. It has been our aim to record all such details, but there are almost certainly omissions. Undocumented paintings, to which only approximate (circa) dates can be attached, are generally placed at the end of the year in which they are believed to have been painted; this rule is departed from when there is firm evidence that a painting was made at a specific date during a certain year (for example ‘Street Scene (with Car in Distance)’, 1984 (84-03). Among the paintings with descriptive titles in the catalogue, many did not emerge into public view until after 1998. All the figures in the the sets to this piece are very deformed and left open for the viewer to find out what exactly they are. This precept has been adhered to in the present catalogue. An atheist and nihilist, the only ‘finish’ he recognised – and was haunted by – was death: to finish a painting was, perhaps, analogous to dying. All the figures in the the sets to this piece are very deformed and left open for the viewer to find out what exactly they are. Visit the Frank Lloyd Wright–designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Between 1959 and 1969, when he completed Study of Henrietta Moraes Laughing, Francis Bacon painted his friend and muse at least 23 times (counting each triptych as one work). London: Tate Gallery in assoc. 19 Oct. 1985-5 Jan. 1986, Berlin: Nationalgalerie So where has it all gone? 41, p. 44 (b&w), No. 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, … 11, unpaged (b&w), London: Tate Gallery 127, p. 205 (right panel); no. 57, pp. with the Sainsbury Centre for Visual Arts, Francis Bacon: Studies for a Portrait: Essays and Interviews, New Haven and London: Yale University Press, London: Tate Britain ... Three studies for a crucifixion (right panel), 1962. The so-called ‘slashed canvasses’ are not (with one, uble Portrait of Lucian Freud and Frank Auerbach, The question of ‘finish’, as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. 17 Nov. 2012-24 Feb. 2013. Two of these are paintings which had been sold and were destroyed in accidents while in private ownership; a third was damaged beyond restoration when it fell into Tokyo Dock. Titles of paintings placed in inverted commas, for example ‘Figure with Cricket Pad’, c.1982 (82-09), were not applied by Bacon or by his gallerists, and are merely descriptive. Paintings with the suffix ‘D’ in the catalogue (for example 67-15D) are destroyed. A compelling reason for ceasing to adopt these categories is that of the nine paintings Alley listed as ‘Destroyed’ in 1964, four in fact survive. 7 Feb. 1986-31 Mar. 10, 27-28, 30, 276; ill. No. Crucifixion, 1965 Francis Bacon Request Image. 29 Jan. 2007-15 Apr. In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon’s indifference – or hostility – towards his pre-1944 œuvre). Chicago and London: The University of Chicago Press, Francis Bacon: Painting in a Godless World, Sydney: Art Gallery of New South Wales 1972. Painting in a Godless World', 'Robert Melville has a look at a book about Francis Bacon', 'Round the Galleries: Crisis Under the Skin', 'Round the London Galleries: The Catalan Magician', 'Sexing the Canvas: Calling on the Medium', 'Shafts from Apollo's Bow - The Return of the Problem Picture', 'Show that brings home the Bacon to a new market', 'Sides of Bacon: A portrait of the artist by his friends', 'Soho's days of wine and poses and whisky galore', 'Talk at the Palais des Beaux-Arts, Brussels, 1971', 'Tate Gallery: Exhibition of recent acquisitions', 'The American way with art: Francis Bacon - Recent Paintings', 'The Art World: Aesthetics of Mutilation', 'The Body Unbound: The postmodern aesthetics of Francis Bacon', 'The Bones and the Flesh: Henry Moore and Francis Bacon', 'The Devil in Mr Bacon: Film of the Week: Love is the Devil', 'The Horrific Vision of Mr. Francis Bacon', 'The Master of the Macabre, Francis Bacon', 'The Mather Award: Citation / On the strange case of Frances Bacon', 'The Narrative of Perception and the Perception of Narrative', 'The Primal Cry of Horror: The A-theology of Francis Bacon', 'The SR Interview: "I Think About Death Every Day"', 'The ambiguous precision of Francis Bacon', 'The art of infuriating: Giles Waterfield on Bacon', 'The curse of the buddha and other whodunits', 'The fine art of drinking at Muriel's bar', 'The making of an artist - from weakling to enigmatic master', 'The paintings of Mr. Bacon: A prophet of doom', 'This Teeming Womb, This Non-Isle, This Non-England', 'Three Bacon paintings to be sold for £2m', 'Too risqué for Iran, Bacon's 'lost' painting goes on show', 'Too risqué for Iran, Bacon's nudes may be shown in London', 'Twentieth-Century Choice at the Marlborough', 'Two British art patrons of the 1940s and 1950s: Sir Colin Anderson and Peter Watson', 'Unseen paintings may provide evidence in Bacon court case', 'Visions of a Violent Century In Francis Bacon's Paintings: Bacon's Visions of a Violent, Disjointed Century', 'Vulgar Pictures: Bacon, de Kooning, and the Figure under Abstraction', 'What the critics said: Bacon in his prime', 'You should see his bedroom... Why we need clutter', '£1.8m price tag for 'lost' Bacon painting', Bacon a Brera: e quaranta disegni di Grosz in sosta a Milano, Bacon: 1909-1992: Deep Beneath the Surface of Things, Changing Perceptions: Milestones in Twentieth-Century British Portraiture, Conversas com Francis Bacon: O cheiro do sangue humano não desgruda seus olhos de mim, De Manet à Bacon: La collection Jacqueline Delubac, El olor a sangre humana no se me quita de los ojos: conversaciones con Francis Bacon, Erica Brausen: Premier Marchand de Francis Bacon, Francis Bacon (1909-1992): Three Figures at the Base of a Crucifixion c. 1944', Francis Bacon Kreuzigung: Versuch, eine gewalttätige Wirklichkeit neu zu sehen, Francis Bacon ou la brutalité du fait: suivi de cinq lettres inédites de Michel Leiris à Francis Bacon sur le réalisme, Francis Bacon/Henry Moore: Flesh and Bone, Francis Bacon: Catalogue Raisonné and Documentation, Francis Bacon: L'art de l'impossible: Entretiens avec David Sylvester, Francis Bacon: Lo Sagrado y lo Profano / The Sacred and the Profane, Francis Bacon: Paintings from The Estate, 1980-1991, Francis Bacon: Recent Paintings 1968-1974, Francis Bacon: The Papal Portraits of 1953, Francis Bacon: Vier Studien zu einem Porträt, Francis Bacon: logica van de gewaarwording, Francis Bacon: Œuvre graphique - The graphic work: Catalogue raisonné, Interviuri cu Francis Bacon: brutalitatea realităţii, L'odeur du sang humain ne me quitte pas des yeux: Conversations avec Francis Bacon, La brutalità delle cose: conversazioni con David Sylvester, Movement and Gravity: Bacon and Rodin in Dialogue, Museum of Modern Art Ludwig Foundation Vienna, New Art New World: British Art in Postwar Society, Robert and Lisa Sainsbury Collection: Volume I: European 19th and 20th Century Paintings, Drawings and Sculpture, Roy de Maistre: The English Years 1930-1968, Rozmowy z Francisem Baconem: brutalność faktu, Studio and Cube: On the relationship between where art is made and where art is displayed, The Battle for Realism: Figurative Art in Britain During the Cold War 1945-1960, [The Rubens Prize awarded to Francis Bacon], ‘Just a pile of paint and a nightmare of chic thrills’, 感覚の論理 : 画家フランシス・ベーコン論 [Logic of sensation: Francis Bacon], 肉への慈悲 : フランシス・ベイコン・インタヴュー [Interview with Francis Bacon], 나는 왜 정육점의 고기가 아닌가? , largely influenced by Picasso ’ s studio after he died, are now in Dublin City the! 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