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Francis Bacon: Tate Centennial (2008-9)

Tate Britain, London. 11 September 2008-04 January 2009

Essay by Victoria Walsh


REAL IMAGINATION IS TECHNICAL IMAGINATION

Like Oscar Wilde, with whom he shared a love of literature, theatre and creative artifice, Bacon was acutely conscious of the value of constructing a public image and perfectly adept at carefully orchestrating both it and the reception of his work from an early stage. Marking out his serious pedigree in 1950, he identified himself in the catalogue to the exhibition London-Paris: New Trends in Painting and Sculpture as ‘the collateral descendant of the Elizabethan philosopher’; he latter admitted in an interview in 1973 that he had no firm evidence for this, although he shared a homosexual disposition with his purported eponymous ancestor. In interviews, Bacon held tight control of the final published texts and indeed, while they have attained a canonical status in Bacon studies, the published interviews with David Sylvester only represent a fifth of the original exchanges between the two. In the preface to the interviews, Sylvester acknowledged, in what almost reads as an apology or disclaimer, just how radical their reformatting and editing had been:

‘since the editing has been designed to present Bacon’s thought clearly and economically…the sequence in which things were said has been drastically rearranged. Each of the interviews, apart from the first has been constructed from transcripts of two or more sessions, and paragraphs in these montages sometimes combines things said on two or three different days quite widely separated in time. In order to prevent the montage from looking like a montage, many of the questions have been recast or simply fabricated. The aim has been to seam together a more concise and coherent argument than ever came about when we were talking.’

Whether it was Bacon’s concern to maintain the accumulative aura of his work or his disdain of potentially reductive interpretations, his desire to frustrate an empirical analysis of his oeuvre was highlighted in a now legendary anecdote: on a visit to the artist, a researcher enquired of Bacon whether he intended to bequeath his archive at the end of his life, to which Bacon promptly responded by sweeping up everything in sight, placing it in plastic bags and creating a bonfire of all the contents. As Martin Harrison also noted, Bacon ‘effectively censured…the iconological study of his paintings, initially by denying their iconographies. Most critics acquiesced in this denial of content, and those who transgressed risked his non co-operation regarding reproductions rights: this enforced collaboration in this information clamp-down helped to censure that Bacon’s paintings, and his procedures were investigated and understood largely on the terms he dictated, or of which he approved.’ (…)

Paintings