Francis Bacon (artist)

1358: 239: 1123:. While Bacon's career was at a peak, he was described at the time as Britain's "greatest living painter", Dyer knew that his own importance to Bacon was in decline. To gain attention, he planted cannabis in his flat and phoned the police, and attempted suicide on a number of occasions. In Paris, Bacon and Dyer initially shared a hotel room, but Bacon left. When he returned on the morning of 24 October, with Danziger-Miles and Valerie Beston, they discovered Dyer's body. They persuaded the hotel manager not to announce the death for two days. 1080:. He came from a family steeped in crime, and had till then spent his life drifting between theft and prison. Bacon's earlier relationships had been with older and tumultuous men. His first lover, Peter Lacy, tore up Bacon's paintings, beat him in drunken rages, at times leaving him on streets half-conscious. Bacon was now the dominating personality, attracted to Dyer's vulnerability and trusting nature. Dyer was impressed by Bacon's self-confidence and success, and Bacon acted as a protector and father figure to the insecure younger man. 1269: 1345:

account for up to 33 of his paintings. The litigation was settled out of court in early 2002, following Edwards' diagnosis of lung cancer, with both sides paying their own costs. During the legal process, an undisclosed number of Bacon's paintings were recovered from Marlborough, and "vast quantities of correspondence and documents relating to Bacon's life were handed over by the gallery". In 2003, the estate was handed to a four-person trust based in

873: 717: 1040:. Sylvester had admired and written about Bacon since 1948. Bacon's artistic inclinations in the 1950s moved towards his abstracted figures which were typically isolated in geometrical cage-like spaces, and set against flat, nondescript backgrounds. Bacon said that he saw images "in series", and his work typically focused more on a single subject for sustained periods, often in 446:. Although poor (£5 was then the average weekly wage), Bacon found that by avoiding rent and engaging in petty theft, he could survive. To supplement his income, he briefly tried his hand at domestic service, but although he enjoyed cooking, he became bored and resigned. He was sacked from a telephone-answering position at a shop selling women's clothes in 1239:, such as the screaming open mouth. The figures of the popes, pictorially isolated by partly curved parallel lines indicating psychological forces and symbolising inner energy like strength of feeling, are alienated from their original representation and, stripped of their representation of power to allegories of suffering humanity. 783:. After staying at a succession of hotels and flats, including the Hôtel de Ré, Bacon settled in a large villa, La Frontalière, in the hills above the town. Hall and Lightfoot would come to stay. Bacon spent much of the next few years in Monte Carlo apart from short visits to London. From Monte Carlo, Bacon wrote to Sutherland and 1321:. By the early 1950s it became an obsessive concern, to the point, according to art critic and Bacon biographer Michael Peppiatt, "it would be no exaggeration to say that, if one could really explain the origins and implications of this scream, one would be far closer to understanding the whole art of Francis Bacon." 44: 130:, self-portraits, and portraits of close friends, with abstracted figures sometimes isolated in geometrical structures. Rejecting various classifications of his work, Bacon said he strove to render "the brutality of fact." He built up a reputation as one of the giants of contemporary art with his unique style. 1083:

Dyer was, like Bacon, a borderline alcoholic and similarly took obsessive care with his appearance. Pale-faced and a chain-smoker, Dyer typically confronted his daily hangovers by drinking again. His compact and athletic build belied a docile and inwardly tortured personality, although the art critic

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in Dublin. The studio at 7 Reece Mews had remained largely untouched since Bacon's death in 1992. A team of archaeologists, art historians, conservators and curators oversaw the relocation of the studio to Dublin. The locations of over 7,000 items were mapped, survey and elevation drawings made, the

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Bacon found himself drifting through London's homosexual underworld, aware that he was able to attract a certain type of rich man, something he was quick to take advantage of, having developed a taste for good food and wine. One was a relative of Winnie Harcourt-Smith, another breeder of racehorses,

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Many of Bacon's paintings are "inhabited" by reclining figures. Single, or, as in triptychs, repeated with variations, they can be commented by symbolic indexes (like circular arrows as signs for rotation), turning painted images to blueprints for moving images of the type of contemporary GIFs. The

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The imagery of the crucifixion weighs heavily in the work of Francis Bacon. Critic John Russell wrote that the crucifixion in Bacon's work is a "generic name for an environment in which bodily harm is done to one or more persons and one or more other persons gather to watch". Bacon admitted that he

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and was dead. Bacon continued with the retrospective and displayed powers of self-control "to which few of us could aspire", according to Russell. Bacon was deeply affected by the loss of Dyer, and had recently lost four other friends and his nanny. From this point, death haunted his life and work.

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around London's Soho. Withdrawn and reserved when sober, Dyer was highly animated and aggressive when drunk, and often attempted to "pull a Bacon" by buying large rounds and paying for expensive dinners for his wide circle. Dyer's erratic behaviour inevitably wore thin with his cronies, with Bacon,

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and Lawrence Gowing. Yet as Dyer's novelty diminished within Bacon's circle of sophisticated intellectuals, Dyer became increasingly bitter and ill at ease. Although Dyer welcomed the attention the paintings brought him, he did not pretend to understand or even like them. "All that money an' I fink

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formats. Although his decisions might have been driven by the fact that in the 1950s he tended to produce group works for specific showings, usually leaving things until the last minute, there is significant development in his aesthetic choices during this period which influenced his preference for

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moved to the top two floors of the building where De Maistre had his studio, on Eccleston Street and commissioned from Bacon, by now a friend, a writing desk (with wide drawers and a red linoleum top). Expressing one of his basic concerns from the late 1930s, Bacon said that his artistic career was

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Since his death, Bacon's reputation has grown steadily, and his work is among the most acclaimed, expensive and sought-after on the art market. In the late 1990s a number of major works, previously assumed destroyed, including early 1950s pope paintings and 1960s portraits, re-emerged to set record

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During the funeral many of Dyer's friends, including hardened East-End criminals, broke down in tears. As the coffin was lowered into the grave one friend was overcome and screamed "you bloody fool!" Bacon remained stoic during the proceedings, but in the following months suffered an emotional and

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gallery, who remained as his sole dealer until 1992. In return for a 10-year contract, Marlborough advanced him money against current and future paintings, with the price of each determined by its size. A painting measuring 20 inches by 24 inches was valued at £165 ($ 462), while one of

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I'm not sure Francis had a lot in common with my mother, because she didn't take much notice of his art or anything. I remember sometimes he brought home things that he'd drawn and, I don't know what my mother did with them she wasn't wildly interested in it. They were always, what we used to call

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In 2001 the relocated studio was opened to the public, with a fully comprehensive database. Every item in the studio has a database entry. Each entry consists of an image and a factual account of an object. The database has entries on approximately 570 books and catalogues, 1,500 photographs, 100

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to him until his death in 1992, and to his estate. The suit alleged Marlborough in London grossly underpaid Bacon for his works and resold them through its Liechtenstein branch at much higher prices, contending that Marlborough never supplied a complete accounting of Bacon's works, and failed to

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As Bacon's work moved from the extreme subject matter of his early paintings to portraits of friends in the mid-1960s, Dyer became a dominating presence. Bacon's paintings emphasise Dyer's physicality, yet are uncharacteristically tender. More than any other of Bacon's close friends, Dyer came to

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when he learned of her death. She had been his closest companion, joining him in London on his return from Paris, and lived with him and Eric Alden at Queensberry Mews West, and later with Eric Hall near Petersfield, in Monte Carlo and at Cromwell Place. Stricken, Bacon sold the 7 Cromwell Place

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of 1925. It was not well received; disillusioned, he abandoned painting for nearly a decade, and suppressed his earlier works. He visited Paris in 1935 where he bought a secondhand book on anatomical diseases of the mouth containing high quality hand-coloured plates of both open mouths and oral

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during the war, and secured a 3 – 11pm drinking licence for the Colony Room bar as a private-members club. Bacon was an early member, joining the day after its opening in 1948. He was 'adopted' by Belcher as a 'daughter', and allowed free drinks and £10 a week to bring in friends and rich

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Though he came to painting relatively late in life – he did not begin to paint seriously until his late 30s – crucifixion scenes can be found in his earliest works. In 1933, his patron Eric Hall commissioned a series of three paintings based on the subject. The early paintings were

163:, which sealed his reputation as a uniquely bleak chronicler of the human condition. From the mid-1960s, he mainly produced portraits of friends and drinking companions, either as single, diptych or triptych panels. Following the suicide of his lover George Dyer in 1971 (memorialised in his 150:, the 1940s male heads isolated in rooms or geometric structures, the 1950s "screaming popes," the mid-to-late 1950s animals and lone figures, the early 1960s crucifixions, the mid-to-late 1960s portraits of friends, the 1970s self-portraits, and the cooler, more technical 1980s paintings. 747:, and the Greek Furies. It is generally considered his first mature piece; he regarded his works before the triptych as irrelevant. The painting caused a sensation when exhibited in 1945 and established him as a foremost post-war painter. Remarking on the cultural significance of 226:. After Dyer's suicide, he largely distanced himself from this circle, and while still socially active and his passion for gambling and drinking continued, he settled into a platonic and somewhat fatherly relationship with his eventual heir, John Edwards. 1200:

on which you can hang all types of feeling and sensation". He believed the imagery of the crucifixion allowed him to examine "certain areas of human behaviour" in a unique way, as the armature of the theme had been accumulated by so many old masters.

1745:"I was told by a homosexual friend of Francis' that he'd once admitted that his father, the dreaded and failed horse trainer, had arranged that his small son spend his childhood being systematically and viciously horsewhipped by his Irish grooms.", 462:

who was renowned for his manliness. Bacon claimed his father had asked this "uncle" to take him 'in-hand' and 'make a man of him'. Bacon had a difficult relationship with his father, once admitting to being sexually attracted to him. He moved to

486:, both later to be influences on his work. He spent two months in Berlin, though Harcourt-Smith left after one: "He soon got tired of me, of course, and went off with a woman ... I didn't really know what to do, so I hung on for a while." 839:

In 1947, Sutherland introduced Bacon to Brausen, who represented Bacon for twelve years. Despite this, Bacon did not mount a one-man show in Brausen's Hanover Gallery until 1949. Bacon returned to London and Cromwell Place late in 1948.

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before it was shipped to New York. (The work is now too fragile to be moved from MoMA for exhibition elsewhere.) At least one visit to Paris in 1946 brought Bacon into contact with French postwar painting and Left Bank ideas such as

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1920s ladies you know, with the cloche hat and, cigarette holder . That sort of thing. They were always drawings like that. They were very nice. What happened to them I don't know. – And, funnily enough I actually remember them.

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describes him as having the air of a man who could "land a decisive punch". Their behaviours eventually overwhelmed their affair, and by 1970 Bacon was merely providing Dyer with enough money to stay more or less permanently drunk.

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In 1999, England's High Court ruled that Marlborough Fine Art, Bacon's former gallery, had to be replaced by a new, independent representative for the administration of the estate. The estate then engaged as representation the

791:, where he would "spend whole days". Falling in debt from gambling, he was unable to afford a new canvas. This compelled him to paint on the raw, unprimed side of his previous work, a practice he kept throughout his life. 652:

On 1 June 1940, Bacon's father died. Bacon was named sole Trustee/Executor of his father's will, which requested the funeral be as "private and simple as possible". Unfit for active wartime service, Bacon volunteered for

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65 inches by 78 inches was valued at £420 ($ 1,176); these were sizes Bacon favoured. According to the contract, the painter would try to supply the gallery with £3,500 ($ 9,800) worth of pictures each year.

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Bacon said that he saw images "in series", and his work, which numbers in the region of 590 extant paintings along with many others he destroyed, typically focused on a single subject for sustained periods, often in

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Though outwardly stoic at the time, he was inwardly broken. He did not express his feelings to critics, but later admitted to friends that "daemons, disaster and loss" now stalked him as if his own version of the

970: 396:, beaded dress, lipstick, high heels, and a long cigarette holder. In 1926, the family moved back to Straffan Lodge. His sister, Ianthe, twelve years his junior, recalled that Bacon made drawings of ladies with 2291: 1306:. Bacon saw the film in 1935, and viewed it frequently thereafter. He kept in his studio a photographic still of the scene, showing a close-up of the nurse's head screaming in panic and terror and with broken 1339:

in New York, and Faggionato Fine Arts in Europe. That same year, the estate sued Marlborough UK and Marlborough International, Vaduz, charging them with wrongfully exploiting Bacon in a relationship that was

4130: 4056: 855:(three 'popes' were painted in Monte Carlo in 1946 but were destroyed). He kept an extensive inventory of images for source material, but preferred not to confront the major works in person; he viewed 1135:(Greek for The Furies). Bacon spent the remainder of his stay in Paris attending to promotional activities and funeral arrangements. He returned to London later that week to comfort Dyer's family. 169:, and a number of posthumous portraits), his art became more sombre, inward-looking and preoccupied with the passage of time and death. The climax of his later period is marked by the masterpieces 4224: 2963: 2818: 157:

and gambler. He said that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. His breakthrough came with the 1944 triptych

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wheel there, organised by Bacon and his friends. It is believed by art critics that Bacon's interest in a working-class perspective developed due to his relationship with Nanny Lightfoot.

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sold at Sotheby's for €55.465 million ($ 86.28 million), then a record for a work by Bacon and the highest price paid for a postwar work of art at auction at the time. In 2013,

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and lover in an often torturous and abusive relationship. Bacon left the Queensberry Mews West studio in 1931 and had no settled space for some years. He probably shared a studio with

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Later that year, Bacon was thrown out of Straffan Lodge following an incident in which his father found him admiring himself in front of a large mirror wearing his mother's underwear.

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The family moved house between Ireland and England several times, leading to a sense of displacement which remained with Bacon throughout his life. They lived in Cannycourt House in

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slashed canvases, 1,300 leaves torn from books, 2,000 artist's materials and 70 drawings. Other categories include Bacon's correspondence, magazines, newspapers and vinyl records.

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Bacon was shy as a child and enjoyed dressing up. This, and his effeminate manner, angered his father. A story emerged in 1992 of his father having had Bacon horsewhipped by their

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later became recurrent parts of Bacon's iconography, with the angularity of Eisenstein's images often combined with the thick red palette of his recently purchased medical tome.

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The inspiration for the recurring motif of screaming mouths in many Bacons of the late 1940s and early 1950s was drawn from a number of sources, including medical text books.

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The Popes and large triptychs, in their time, commanded the highest prices at auction. By 1989 Bacon was the most expensive living artist after one of his triptychs sold at

2877: 2198: 1170:, a friend of Bacon and Edwards, was installed as sole executor of the estate by the High Court, following the Court's severing of all ties between Bacon's former gallery, 489:

Bacon, then 17, spent the next year and a half in Paris. He met Yvonne Bocquentin, pianist and connoisseur, at the opening of an exhibition. Aware of his own need to learn

3845: 3660: 3109: 1097:, and offered meaning to what Bacon described as Dyer's "brief interlude between life and death". Many critics have described Dyer's portraits as favourites, including 287:, who is better known as "Sir Francis Bacon", the Elizabethan statesman, philosopher, and essayist. Bacon's mother, Christina Winifred "Winnie" Firth, was heiress to a 4205: 291:

steel business and coal mine. He had an older brother, Harley, two younger sisters, Ianthe and Winifred, and a younger brother, Edward. Bacon was raised by the family

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Rump, Gerhard Charles. Francis Bacons Menschenbild. In: Gerhard Charles Rump: Kunstpsychologie, Kunst und Psycoanalyse, Kunstwissenschaft. (1981), pp. 146–168

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and an allergy to horses. His poor health meant his formal education was sporadic; he received lessons at home from a private tutor, and from 1924 to 1926 attended

4307: 3152: 299:, known as "Nanny Lightfoot", a maternal figure who remained close to him until her death. During the early 1940s, he rented the ground floor of 7 Cromwell Place, 1670: 2900: 1076:

Bacon met George Dyer in 1963 at a pub, although a much-repeated myth claims they met when Dyer burgled Bacon's flat. Dyer was about 30 years old, from London's

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Bacon belonged. Dyer reacted by becoming increasingly needy and dependent. By 1971, he was drinking alone and only in occasional contact with his former lover.

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on 28 April 1992, aged 82. He bequeathed his estate (then valued at £11 million) to his heir and sole legatee John Edwards; in 1998, at Edwards' request,

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Bacon spent the following day surrounded by people eager to meet him. In mid-evening of the following day he was "informed" that Dyer had taken an overdose of

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physical breakdown. Deeply affected, over the following two years he painted a number of single canvas portraits of Dyer, and the three highly regarded "

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and with Bacon's friends. Most of Bacon's art world associates regarded Dyer as a nuisance – an intrusion into the world of high culture to which

515:, sharing the upper floor with Eric Allden – his first collector – and his childhood nanny, Jessie Lightfoot. In 1929, he met Eric Hall, his 2270: 1924: 3084: 2810: 4189: 3737: 974: 1357: 1049:

the represented content in his paintings. On 30 April 1951, Jessie Lightfoot, his childhood nanny, died at Cromwell Place; Bacon was gambling in

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observed in 1971 that "there was painting in England before the Three Studies, and painting after them, and no one ... can confuse the two."

3172: 2715: 2054: 280: 4456: 1983: 1252:. The multi-phasing of his rendition of the figures, which often is also applied to the sitters in the portraits, is also a reference to 1159:, which had plagued him all his life, had developed into a more severe respiratory condition and he could not talk or breathe very well. 260: 4346: 2414: 2513: 1310:

spectacles hanging from her blood-stained face. He referred to the image throughout his career, using it as a source of inspiration.

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to be included in the show". Bacon claimed Penrose told him "Mr. Bacon, don't you realise a lot has happened in painting since the

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Bacon moved back to London in the winter of 1928/29 to work as an interior designer. He took a studio at 17 Queensberry Mews West,

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Bacon did not begin to paint until his late twenties, having drifted in the late 1920s and early 1930s as an interior decorator,

17: 787:. His letters to Brausen show he painted there, but no paintings are known to survive. Bacon said he became "obsessed" with the 4396: 4240: 3054: 3106: 1784: 4486: 4431: 4299: 3394: 2526: 1807: 552:

interiors, which haunted and obsessed him for the remainder of his life. These and the scene with the nurse screaming on the

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in auctioned value, the record for highest auction price of a work of art at that time, surpassing the fourth version of

3681: 3149: 581:, Chelsea saw "three or four large canvases including one with a grandfather clock", but found his work "insufficiently 4436: 3755: 2989: 2897: 2155: 2102: 1666: 1486: 103: 1692: 923: 768: 4040: 3628: 3614: 3600: 3586: 3572: 3558: 3544: 3530: 3516: 3491: 3474: 3460: 3439: 3425: 3408: 3380: 3366: 3352: 3338: 3324: 3310: 3296: 3282: 3268: 3254: 3240: 3226: 3212: 2434: 2185: 2012: 1535: 956: 704:

at the back as his studio. Lightfoot, lacking an alternative location, slept on the kitchen table. They held illicit

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Bacon and Hall in 1943 took the ground floor of 7 Cromwell Place, South Kensington, formerly the house and studio of

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items packed and catalogued, and the studio was rebuilt, including the original doors, floor, walls and ceiling.

905: 661:(ARP) rescue service; the fine dust of bombed London worsened his asthma and he was discharged. At the height of 4466: 4421: 3869: 894: 1854: 142:

formats. His output can be broadly described as sequences or variations on single motifs; including the 1930s

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Bacon described the screaming mouth as a catalyst for his work, and incorporated its shape when painting the

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Letter by Bacon to G. Sutherland, 30 December 1946, Monte Carlo, National Galleries and Museums of Wales.

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from 1911, later moving to Westbourne Terrace in London, close to where Bacon's father worked at the

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in Dublin secured Edwards' and Clarke's donation of the contents of Bacon's studio at 7 Reece Mews,

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and the Left Bank set. They shared many interests, including ethnography and classical literature.

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painter known for his raw, unsettling imagery. Focusing on the human form, his subjects included

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had summarised themes explored in his earlier paintings, including his examination of Picasso's

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By 1944 Bacon had gained confidence and moved toward developing his unique signature style. His

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delayed because he spent too long looking for subject matter that could sustain his interest.

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Bacon spent the latter half of 1926 in London, on an allowance of £3 a week from his mother's

4426: 3987: 3805: 3664: 2288:"Consumed by his own Effigy: George Dyer's Relationship with Francis Bacon on Sotheby's Blog" 788: 602: 2411: 1465: 1294: 1206: 1117:

In October 1971, Dyer joined Bacon in Paris for the opening of Bacon's retrospective at the

681:. The photograph was taken shortly before the canvas was painted over by Bacon and retitled 267:, South Australia, to an English father and an Australian mother. Eddy was a veteran of the 4341: 4336: 3673: 3479:

Sabatier, Bruno. "The Complete Graphic Work, Catalogue Raisonné", Paris, JSC Gallery, 2012.

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Dyer abandoned crime but descended into alcoholism. Bacon's money attracted hangers-on for

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Jacobi, Carol (2009). "Cat's Cradle – Francis Bacon and the Art of 'Isabel Rawsthorne'".

1314: 1302: 1278: 1071: 578: 558: 493:, Bacon lived for three months with Madame Bocquentin and her family at their house near 482: 443: 252: 164: 3651: 3829: 3770: 3501: 3130: 3016: 2908: 2634: 2543: 2135: 1746: 1602: 1253: 1037: 807: 537: 2782: 2582: 1591:

Some had appeared in black-and-white photographs in the late 1950s Catalogue Raisonné.

1530:. Judge, Harry George., Toyne, Anthony. Oxford : Oxford University Press. p. 29. 1210: 3624: 3610: 3596: 3582: 3568: 3554: 3540: 3526: 3512: 3487: 3470: 3456: 3435: 3421: 3413: 3404: 3390: 3376: 3362: 3348: 3334: 3320: 3306: 3292: 3278: 3264: 3250: 3236: 3222: 3208: 3177: 3046: 2787: 2638: 2522: 2139: 2098: 2008: 1803: 1541: 1531: 1442: 1370: 1273: 1257: 1182:. The contents of his studio were surveyed, moved, and reconstructed in the gallery. 1175: 824: 690: 678: 610: 547: 477: 455: 381: 350: 2842:"I wooed Bacon with Claridge's champagne but London gallery cheated me, says dealer" 1297:

and photographic stills of the nurse in the Odessa Steps scene in Eisenstein's 1925

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composition of especially the nude figures is influenced by the sculptural work of

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The Francis Bacon Interiors: Michael Peppiatt in Conversation with Robert Priseman

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From Francis Bacon to Tracey Emin: Soho's historic Colony Room Club – in pictures

1990: 1369:, sole executor of Bacon's estate, donated the contents of Bacon's studio to the 1140: 1029: 983: 776: 759: 589:?" In 1936 or 1937 Bacon moved from 71 Royal Hospital Road to the top floor of 1 553: 524: 494: 490: 369: 354: 323: 268: 223: 1410:. It was auctioned for the then record price of £14.2 million ($ 27.5 million). 154: 4064: 1632: 1106: 1008: 991: 820: 586: 566: 520: 342: 315: 207: 202:(although they fell out in the mid-1970s, for reasons neither ever explained), 183: 115: 3701: 2131: 1143:", each of which details moments immediately before and after Dyer's suicide. 43: 4325: 3813: 3678: 2219: 2159: 1563: 1407: 1336: 1098: 1012: 784: 701: 654: 594: 542: 541:

was his first painting to attract public attention, and was in part based on

447: 377: 263:. His father, Army Captain Anthony Edward "Eddy" Mortimer Bacon, was born in 215: 1545: 806:(MoMA) in New York for £240. Bacon wrote to Sutherland asking that he apply 2027: 1720: 1697: 1432: 1395: 1387: 1366: 1249: 1167: 1163: 1119: 1004: 726: 570: 373: 272: 199: 1780: 3715: 2716:"Radiology and radiography in the 1960s - British Institute of Radiology" 2630: 1525: 1403: 1298: 1290: 1218: 1127: 1033: 1022: 987: 799: 780: 744: 740: 590: 203: 3373:

In Camera, Francis Bacon: Photography, Film and the Practice of Painting

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The following year Bacon exhibited his "Heads" series, most notable for

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and Roy De Maistre. Eric Hall organised the show. He showed four works:

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feel inseparable from his portraits. The paintings gave him stature, a

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Throughout his career, Bacon destroyed a great many of his paintings.

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was compiled by curator Ronald Alley in 1964. In 2016, a five-volume

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was shown in several group shows including in the British section of

662: 393: 327: 288: 219: 872: 497:. He travelled into Paris to visit the city's art galleries. At the 194:, he spent his middle age eating, drinking and gambling in London's 3912: 3669: 1151:

While on holiday, Bacon was admitted to the private Clinica Ruber,

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Norton, James (13 March 2005). "The six loves of Francis Bacon".

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sold at Christie's New York for $ 142.4 million, surpassing both

1132: 1045: 845: 823:. He had, by this time, embarked on his lifelong friendship with 389: 385: 143: 139: 119: 1972:. Philadelphia : W.B Saunders – via Internet Archive. 1715: 3928: 3896: 3643: 1693:

Sado-masochism and stolen shoe polish: Bacon's legacy revisited

1346: 1156: 1152: 811: 634: 605:, 43 Old Bond Street, London, Bacon exhibited in a group show, 516: 463: 346: 330:, County Laois, although the rest of the family again moved to 256: 147: 83: 64: 1968:

Grünwald, Ludwig; Grayson, Charles Prevost (8 November 1902).

1365:

In August 1998, Bacon's sole heir John Edwards and the artist

412: 1229:

Bacon's series of Popes, largely quoting Velázquez's famous

685:. An ancestor to the biomorphic form of the central panel of 642: 307:'s old studio. Nanny Lightfoot helped him install an illicit 292: 3846:

Study for Portrait II (After the Life Mask of William Blake)

3277:. Paris: Continuum International Publishing- Mansell, 2004. 114:(28 October 1909 – 28 April 1992) was an Irish-born British 3173:"All together now: on the Francis Bacon catalogue raisonné" 1391: 1050: 693:. Bacon claims to have "copied the car and not much else". 593:, Chelsea, which Eric Hall had rented. The following year, 508:, a painting which he often referred to in his later work. 451: 423: 335: 195: 127: 4206:

Portrait of Isabel Rawsthorne Standing in a Street in Soho

4049:

Triptych Inspired by T.S. Eliot's Poem "Sweeney Agonistes"

2583:"Dublin City Gallery The Hugh Lane, Francis Bacon Studio, 2548:

Dictionnaire des arts plastiques modernes et contemporains

2783:"Francis Bacon claims his place at the top of the market" 2216:

Gallery Talk: Francis Bacon, Portrait of Henrietta Moraes

708:

parties, organised by Bacon with the assistance of Hall.

422:, dir. Adam Low, broadcast 19 March 2005 at 9 pm on 4309:

Love Is the Devil: Study for a Portrait of Francis Bacon

3159:, Christie's, 15 November 2017. Retrieved November 2018. 2611:

For his relation to Deleuze, the body and religion, see

1102:

they're reely 'orrible," he observed with choked pride.

994:, its proprietor. Belcher had run the Music-box club in 345:. Bacon was also gravely ill as a child, suffering from 2007:. United Kingdom: Atlantic Monthly Press. p. 278. 4017: