Francis Bacon and the Tradition of Art

Francis Bacon and the Tradition of Art

Hardcover

$60.00

Overview

This exhibition catalogue is not a retrospective but rather an examination for the first time of the artist's work within a network of relationships and influences from the Old Masters to the artists of the twentieth century.
The eminent English painter Francis Bacon (1909-1992) is known for his brutal, haunting and grotesque portraits of man and beast. In this eyeopening study Bacon stands besides artists like Velazquez, Rembrandt, Titian, Ingres, Degas, Schiele, and Van Gogh - his real sources. To support this thesis, the text draws connections between Bacon and his predecessors according to themes: Bacon's papal portraits, the Motif of the Scream, Bacon and Surrealism, Mirrors and Reflections, the Cage Motif. This sumptuously illustrated book offers a firsttime study of a modernist's work in relation to the masterpieces of art history.

Product Details

ISBN-13: 9788884917218
Publisher: Skira
Publication date: 04/17/2004
Pages: 386
Product dimensions: 10.20(w) x 11.30(h) x 1.30(d)

Table of Contents

Foreword11
Observations on Francis Bacon13
Introduction to the Exhibition15
Acknowledgements19
Essays
Chance and the Tradition of Art in Francis Bacon's Work23
Bacon's Dialogues with the Past43
"Reconcentrations:" Bacon Reinventing his Models57
Picasso & Bacon: Painting the Other Self71
"The Chemist's Laboratory." Francis Bacon's Studio85
Bacon's Eyes105
Catalogue
The Papal Portraits Catalogue Numbers 1-12115
Veils and Striations as Motifs of Isolation Catalogue Numbers 13-25133
The Scream Catalogue Numbers 26-40147
Bacon, Picasso and Surrealism Catalogue Numbers 41-49163
The Cage Motif Catalogue Numbers 50-56175
The Round Catalogue Numbers 57-71187
The Representation of the Body: Velazquez - Bacon Catalogue Numbers 72-79205
Francis Bacon: Portraiture after Representation Catalogue Numbers 80-88215
The Representative Portrait Catalogue Numbers 89-95233
Bacon and Ingres Catalogue Numbers 96-107247
Representations of Nudes According to Tradition Catalogue Numbers 108-117263
Mirrors and Reflections Catalogue Numbers 118-126279
Bacon's Realism after Van Gogh Catalogue Numbers 127-130291
The Ambivalent Function of the Shadow Catalogue Numbers 131-133301
The Motif of Meat and Flesh Catalogue Numbers 134-144311
The Motif of the Crucifixion in Triptych Format Catalogue Numbers 145-148329
Photographs of Francis Bacon Catalogue Numbers 149-155339
AppendixInterviews with Francis Bacon346
Biography and List of Solo Exhibitions354
Bibliography362
Picture Credits365

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Francis Bacon and the Tradition of Art 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Fortunate were the ones who were privileged to see the exhibition FRANCIS BACON AND THE TRADITION OF ART in Vienna at the Kunsthistorisches Museum or at the Foundation Beyeler in Basel in 2003 and 2004. What an experience that must have been. Curator Barbara Steffen assembled on of the most comprehensive surveys of the works of Bacon and presented them in context with the ideas and works of art that influenced Bacon's genius. In Steffen's words 'This exhibit is the first opportunity to examine his works side by side with the artists who inspired him, and in this way to cast at least some light on how he conceived and devised his paintings'. The legacy of this exhibition is well preserved in this stunning 'catalogue' book of the same title as the exhibition. The dignity of the effort is suggested in the numerous essays that accompany the book, essays by Steffen herself (The Papal Portraits, Veils and Striations as Motifs of Isolation, The Scream, The Cage Motif, The Representation of the Body: Velasquez - Bacon, Mirrors and Reflections) Verena Gamper (Bacon's Realism after Van Gogh, The Motif of the Crucifixion in Triptych Format, The Ambivalent Function of the Shadow) Olivier Berggruen (Bacon, Picasso and Surrealism, The Representative Portrait) Margarita Cappock (The Round, Bacon and Ingres, The Motif of Meat and Flesh) Alexandra Hennig (Francis Bacon: Portraiture After Representation). The quality of writing is scholarly and immensely readable. It is important to list these essays because they so well describe the flavor of this book and of the exhibition's thesis. But the glory of the book is in the presentation of myriad photographs, reproductions of the works of all of the artists who informed Bacon's oeuvre, photographs of Bacon and his studio and friends, and the drawings and paintings of Bacon, many in gatefold presentation. The color reproduction is excellent and there are generous samplings of details to punctuate the writers' points. Though there are many books about Bacon and of Bacon's paintings, few compare to this unique stance and enormity of information. Appendices to the book include the Interviews with Bacon by David Sylvester and by Michel Archimbaud as well as a fine biography, catalogue of exhibitions and bibliography. Even for those whose library shelves bulge with books on Bacon, this magnificent volume is indispensable. Highly recommended. Grady Harp