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Francis Bacon
Francis Bacon is considered one of the most important painters of the 20th century. A major exhibition of his paintings at the Royal Academy of Arts in 2020 explores the role of animals in his work - not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle and the erotic lurks not far away: "Bullfighting is like boxing," Bacon once said. "A marvellous aperitif to sex." 0Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication - a significant addition to the literature on Bacon - expert authors discuss Bacon's approach to animals and identify his varied sources of inspiration, which included surrealist literature and the photographs of Eadweard Muybridge. They contend that, by depicting animals in states of vulnerability, anger and unease, Bacon sought to delve into the human condition.00Exhibition: Royal Academy of Arts, London, UK (22.01-12.04.2021).
7 Reece Mews
This is a photographic portrait of painter Francis Bacon's south London studio in the days following his death. A visual statement of Bacon's frenetic life and work. 60 photos.
Modernists and Mavericks: Bacon, Freud, Hockney and the London Painters
Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand int...
Bacon in Moscow
'A rollicking cultural adventure... fascinating and true' Grayson Perry This funny and personal memoir is the account of an audacious attempt by James Birch, a young British curator, to mount the ground-breaking retrospective of Francis Bacon's work at the newly refurbished Central House of Artists, Moscow in 1988. Side-lined by the British establishment, Birch found himself at the heart of a honey-trap and the focus for a picaresque cast of Soviet officials, attachés and politicians under the forbidding eye of the KGB as he attempted to bring an unseen western cultural icon to Russia during the time of 'Glasnost', just before the fall of the Berlin Wall. Bacon in Moscow is the story of the evolution of an exhibition that was at the artistic and political heart of a sea of change that culminated with the fall of the USSR. 'A rollicking cultural adventure before the fall of the Berlin Wall and the meteoric rise of contemporary art in the nineties' Grayson Perry
Dishoom
THE SUNDAY TIMES BESTSELLER 'A love letter to Bombay told through food and stories, including their legendary black daal' Yotam Ottolenghi At long last, Dishoom share the secrets to their much sought-after Bombay comfort food: the Bacon Naan Roll, Black Daal, Okra Fries, Jackfruit Biryani, Chicken Ruby and Lamb Raan, along with Masala Chai, coolers and cocktails. As you learn to cook the comforting Dishoom menu at home, you will also be taken on a day-long tour of south Bombay, peppered with much eating and drinking. You'll discover the simple joy of early chai and omelette at Kyani and Co., of dawdling in Horniman Circle on a lazy morning, of eating your fill on Mohammed Ali Road, of stroll...
Francis Bacon and the Loss of Self
Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individualâe"which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer. It is also, most challengingly, an explanation of what Baconâe(tm)s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Baconâe(tm)s work is founded upon the way that each of us carves our identity, our âeoeself,âe from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts âeoeart,âe and ourselves as individuals.
Blimey!
From the anguished, screaming, tortured canvases of Francis Bacon to the witty, ironic, twirling, sliced farmyard animals of Damien Hirst, Matthew Collings guides us merrily through art's Yellow Pages. "Matthew's wired and rushy art history, alternately irritating and insightful, gives late 20th century BritArt what it needs--a confusing, loony relevance".--David Bowie.
