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Francis Bacon

Matthew Gale (ed.) and Chris Stephens (ed.)

Details

Type: Exhibition catalogue

Publisher:

London: Tate Publishing

Year: 2008

Language: English

Pages: 288

ISBN: 9781854378248

Format: Hardback

Contents

Matthew Gale, 'On the Margin of the Impossible', pp. 14-27

Gary Tinterow, 'Bacon and His Critics', pp. 28-39

Martin Harrison, 'Bacon's Paintings', pp. 40-49

David Alan Mellor, 'Film, Fantasy, History in Francis Bacon', pp. 50-62

Simon Ofield, 'Comparative Strangers', pp. 64-73

Victoria Walsh, '"Real Imagination is Technical Imagination"', pp. 74-88

Number of artworks illustrated

90 works

Paintings

29-01 'Watercolour', 1929; p. 254

33-01 Crucifixion, 1933; pp. 31, 47, 91, 137, 255; ill. No. 16, p. 31 (b&w); p. 145

33-02 After Picasso, 'La Danse', 1933; pp. 137-139 (titled 'Crucifixion')

33-03 The Crucifixion, 1933; pp. 19, 137-139, 143, 255; ill. No. 74, p. 138

34-02 Interior of a Room, 1934; p. 47

35-01 Figures in a Garden, 1935; pp. 47, 49, 91, 92; ill. No. 31, p. 47

36-02D Abstraction, 1936; pp. 139 (dated '1937'), 275

36-03D Abstraction from the Human Form, 1936; pp. 139 (dated '1937'), 275

44-01 Three Studies for Figures at the Base of a Crucifixion, 1944; pp. 17, 28, 56, 91-92, 107, 137, 139-140, 143, 233-234, 257, 260, 268, 272; ill. No. 15, p. 29; pp. 146-147

45-01 Man in a Cap, 1945; p. 92; ill. No. 62, p. 93 (dated 'c.1943', b&w)

45-03 Man Standing, 1945; p. 92; ill. No. 64, p. 93 (dated '1941-2')

45-05 Figure in a Landscape, 1945; pp. 17, 19, 27, 60-61, 91-92, 94, 257, 258, 268; ill. p. 97

46-01 Figure Study I, 1945 - 1946; pp. 92, 257, 274; ill. p. 98

46-02 Figure Study II, 1945 - 1946; pp. 92, 257; ill. No. 18, p. 35 (installation view, b&w); p. 99

46-03 Painting 1946, 1946; pp. 30, 41, 45, 49, 59-60, 87, 91-92, 94, 107, 140, 257, 268, 269; ill. p. 101

46-04 Landscape with Car, 1945 - 1946; p. 92; ill. No. 63, p. 93 (earlier version titled 'Figure Getting Out of a Car', dated '1943', b&w)

48-01 Head I, 1948; pp. 31, 94, 271; ill. No. 17, p. 32; p. 102

48-02D Study for Man with Microphones, 1946 - 1948; pp. 30, 92, 257; ill. No. 126, p. 257 (earlier version)

49-01 Head II, 1949; pp. 17, 31, 94, 271; ill. p. 90 (detail); p. 103

49-02 Head III, 1949; pp. 17, 94

49-03 Head IV (Man with a Monkey), 1949; pp. 17, 94

49-04 Head V, 1949; pp. 17, 94

49-05 Head, 1949; p. 17

49-06 Head, 1949; p. 17

49-07 Head VI, 1949; pp. 17-18, 44, 77, 94, 107, 110, 165; ill. Front cover; p. 104

49-08 Study from the Human Body, 1949; pp. 94, 107, 168; ill. p. 105

50-02 Fragment of a Crucifixion, 1950; pp. 82, 140; ill. No. 59, p. 83

50-04 Study after Velázquez, 1950; pp. 18, 77, 107, 110, 258; ill. p. 112

50-05 'Study after Velázquez', 1950; p. 258

51-01 Figure with Monkey, 1951; p. 27

51-03 Study for Nude, 1951; pp. 110, 165; ill. p. 115

51-05 Pope I, 1951; p. 110; ill. p. 114 (titled 'Pope I - Study after Pope Innocent X by Velásquez')

51-06 Pope II, 1951; p. 82 (titled 'Study after Velázquez')

52-01 Study for Crouching Nude, 1952; pp. 22, 43, 49, 110, 153, 166, 167; ill. p. 108 (detail); p. 118

52-03 Dog, 1952; pp. 27, 107, 111, 259; ill. p. 113 (titled 'Study of a Dog')

52-12 Study of Figure in a Landscape, 1952; p. 111; ill. p. 117

52-14 Elephant Fording a River, 1952; pp. 27, 40

52-17 Dog, 1952; p. 27

52-22 'Marching Figures', 1952; p. 76 (dated '1950')

53-01 Study of a Nude, 1952 - 1953; pp. 122, 165; ill. p. 125

53-02 Study after Velázquez's Portrait of Pope Innocent X, 1953; pp. 18, 42, 77, 110; ill. p. 119

53-03 Study for a Portrait, 1953; pp. 82, 124; ill. p. 126

53-06 Man with Dog, 1953; pp. 44, 122, 274; ill. p. 120 (detail); p. 130

53-07 Study for Portrait I, 1953; ill. p. 128

53-17 Study of a Baboon, 1953; p. 27, 124; ill. p. 127

53-19 Study for Figure II, 1953; ill. p. 129

53-23 Three Studies of the Human Head, 1953; p. 124; ill. No. 70, p. 123

53-24 Two Figures, 1953; pp. 64, 70, 124, 165-166, 214, 237; ill. No. 46, p. 65

53-29 Study for a Portrait, 1953; p. 124; ill. p. 131

54-01 Two Figures in the Grass, 1954; pp. 64, 111, 153, 166, 260; ill. p. 134

54-05 Man in Blue I, 1954; pp. 18, 70, 121-124, 156; ill. No. 48, p. 68

54-06 Man in Blue II, 1954; pp. 18, 70, 121-124, 156

54-07 Man in Blue III, 1954; pp. 18, 70, 121-124, 156

54-08 Man in Blue IV, 1954; pp. 18, 70, 121-124, 156; ill. p. 133

54-09 Man in Blue V, 1954; pp. 18, 70, 121-124, 156; ill. p. 132

54-10 Man in Blue VI, 1954; pp. 18, 70, 121-124, 156

54-11 Man in Blue VII, 1954; pp. 18, 70, 121-124, 156

54-13 Study of a Dog, 1954; pp. 27, 111

54-14 Figure with Meat, 1954; p. 82 (titled 'Study after Velázquez')

55-01 Study for Portrait I (after the Life Mask of William Blake), 1955; pp. 52, 260

55-02 Study for Portrait II (after the Life Mask of William Blake), 1955; pp. 52, 167, 260; ill. p. 157

55-03 Study for Portrait III (after the Life Mask of William Blake), 1955; pp. 52, 260

55-08 Chimpanzee, 1955; p. 124; ill. p. 135

55-10 Study for Portrait IV (after the Life Mask of William Blake), 1955; pp. 52, 260

56-01 Self-Portrait, 1956; p. 214

56-03 Study for Portrait of Van Gogh I, 1956; pp. 53, 154-156

56-07 Man Carrying a Child, 1956; p. 154

56-08 Study for Portrait V (after the Life Mask of William Blake), 1956; pp. 52, 260

56-10 Figure in Mountain Landscape, 1956; pp. 40, 153-154; ill. p. 152 (detail); p. 160

56-11 'Figures in a Landscape', 1956; p. 153; ill. p. 158 (titled 'Untitled (Two Figures in the Grass)', dated 'c.1952')

57-01 Figures in a Landscape, 1956 - 1957; p. 153; ill. p. 159

57-08 Study for the Nurse in the film Battleship Potemkin, 1957; p. 156; ill. p. 162

57-10 Study for Portrait of Van Gogh II, 1957; pp. 53, 154-156

57-11 Study for Portrait of Van Gogh III, 1957; pp. 53, 154-156; ill. No. 33, p. 52

57-12 Study for Portrait of Van Gogh IV, 1957; pp. 53, 154-156

57-13 Study for Portrait of Van Gogh V, 1957; pp. 53, 154-156

57-14 Study for Portrait of Van Gogh VI, 1957; pp. 53, 154-156; ill. p. 161

57-15 Van Gogh in a Landscape, 1957; pp. 54, 154; ill. No. 81, p. 155

58-01 Self-Portrait, 1958; p. 156

58-06 Lying Figure, 1958; p. 156

59-10 Study from Portrait of Pope Innocent X by Velásquez, 1959; p. 42

61-02 Reclining Woman, 1961; p. 23

61-04 Paralytic Child Walking on all Fours (from Muybridge), 1961; pp. 156, 165, 272; ill. p. 163

62-02 Study from Innocent X, 1962; p. 42

62-04 Three Studies for a Crucifixion, 1962; pp. 33, 44-45, 48, 94, 137, 140-143, 156, 181, 213, 262; ill. p. 136 (right panel, detail); pp. 148-149

62-07 Study for Three Heads, 1962; ill. No. 106, p. 183

63-01 Lying Figure with Hypodermic Syringe, 1963; pp. 45, 181

63-06 Landscape near Malabata, Tangier, 1963; p. 181; ill. p. 187

63-15 Three Studies for a Portrait of George Dyer, 1963; ill. p. 186

64-10 Three Figures in a Room, 1964; pp. 182, 202; ill. pp. 188-189

65-01 Crucifixion, 1965; pp. 45, 137, 143, 165, 181, 213-214; ill. No. 29, p. 46 (right panel, detail); pp. 150-151

65-03 Study from Portrait of Pope Innocent X, 1965; pp. 42-43; ill. p. 190

66-01 Portrait of George Dyer Crouching, 1966; p. 182

66-02 Portrait of George Dyer Staring at Blind-Cord, 1966; p. 182

66-03 Henrietta Moraes, 1966; pp. 43, 182; ill. p. 192

66-10 Portrait of Isabel Rawsthorne, 1966; p. 182; ill. p. 191

66-14 Study for Portrait, 1966; p. 40; ill. No. 24, p. 41

66-15 Portrait of George Dyer Riding a Bicycle, 1966; pp. 185, 201; ill. p. 195

67-06 Study for Head of George Dyer, 1967; ill. p. 194

67-14 Portrait of Isabel Rawsthorne Standing in a Street in Soho, 1967; ill. p. 193

67-16 Triptych, 1967; pp. 23, 202, 213, 216; ill. pp. 220-221 (titled 'Triptych - Inspired by T.S. Eliot's Poem 'Sweeney Agonistes'')

67-17 Three Studies of Isabel Rawsthorne, 1967; p. 182

68-02 Two Studies of George Dyer with Dog, 1968; p. 185

68-05 Portrait of George Dyer in a Mirror, 1968; pp. 43, 185; ill. No. 51, p. 71; p. 197

68-07 Two Studies for a Portrait of George Dyer, 1968; pp. 182, 185; ill. p. 180 (detail); p. 196

68-08 Two Figures Lying on a Bed with Attendants, 1968; p. 214

69-03 Lying Figure, 1969; p. 181; ill. p. 199

69-04 Study for Bullfight No. 1, 1969; pp. 24-25, 218

69-05 Study for Bullfight No 2., 1969; pp. 24-25, 218, 272; ill. No. 13, p. 25

69-07 Three Studies of Lucian Freud, 1969; pp. 182, 213; ill. No. 107, p. 183

69-10 Three Studies for Portraits (including Self-Portrait), 1969; ill. p. 198

69-14 Second Version of Study for Bullfight No. 1, 1969; pp. 24-25, 218; ill. No. 14, p. 25 (titled 'Study for Bullfight No. 2')

70-04 Triptych - Studies from the Human Body, 1970; pp. 50, 214; ill. No. 112, p. 215

70-06 Three Studies of the Male Back, 1970; pp. 43, 185; ill. No. 108, p. 184

70-08 Self-Portrait, 1970; ill. No. 10, p. 23

70-10 Triptych, 1970; p. 57

71-04 Study of Red Pope, 1962, Second Version, 1971; p. 270

71-09 In Memory of George Dyer, 1971; pp. 36, 201-202, 213-214, 233, 263; ill. p. 200 (right panel, detail); pp. 206-207

72-01 Three Studies of Figures on Beds, 1972; p. 205; ill. No. 109, p. 203

72-06 Portrait of Man Walking Down Steps, 1972; ill. No. 20, p. 38 (installation view); No. 118, p. 236

72-07 Triptych August 1972, 1972; pp. 23-24, 36, 166-168, 185, 201-205, 214, 233; ill. pp. 208-209

72-13 Self-Portrait, 1972; ill. No. 20, p. 38 (installation view)

73-01 Three Portraits - Posthumous Portrait of George Dyer; Self-Portrait; Portrait of Lucian Freud, 1973; p. 205; ill. No. 110, p. 204

73-03 Triptych May-June, 1973; pp. 36, 201-205, 214, 216, 233; ill. No. 20, p. 38 (installation view); pp. 210-211

73-05 Self-Portrait, 1973; p. 216; ill. p. 223

73-10 Self-Portrait, 1973; p. 216; ill. p. 222 (titled 'Self-Portrait with a Watch'); p. 265 (detail, b&w)

74-02 Triptych March 1974, 1974; pp. 43, 59, 205, 214; ill. No. 111, p. 204

74-03 Seated Figure, 1974; p. 216; ill. No. 113, p. 215

74-04 Sleeping Figure, 1974; p. 55; ill. No. 38, p. 55

76-05 Triptych, 1976; pp. 22, 76, 216; ill. pp. 224-225

76-14 Portrait of Michel Leiris, 1976; ill. p. 239

77-05 Triptych 1974-1977, 1974 - 1977; pp. 24, 205; ill. No. 11, p. 24, No. 12, p. 24 (centre panel, earlier version)

78-01 Painting, 1978; pp. 23, 213; ill. p. 212 (detail); p. 227

78-11 Landscape, 1978; p. 234

79-09 Three Studies for Self-Portrait, 1979; ill. p. 238 (dated 1979-80)

80-09 Painting, 1980; p. 59

81-03 Triptych Inspired by the Oresteia of Aeschylus, 1981; pp. 216, 234; ill. pp. 228-229

81-05 Study from the Human Body, 1981; p. 233; ill. p. 242

82-01 Study of the Human Body, 1981 - 1982; p. 233

82-05 A Piece of Waste Land, 1982; ill. p. 219

83-03 Oedipus and the Sphinx after Ingres, 1983; pp. 233, 234; ill. No. 117, p. 236

83-07 Triptych, 1983; ill. pp. 240-241

84-02 Diptych 1982-84: Study from the Human Body 1982-84; Study of the Human Body - from a Drawing by Ingres 1982, 1982 - 1984; p. 233; ill. No. 116, p. 235

84-03 'Street Scene (with Car in Distance)', 1984; pp. 57 (dated '1988'), 272

84-04 'Blood on Pavement', 1984; pp. 234, 272; ill. p. 247 (dated 'c.1988')

85-03 Figure in Movement, 1985; p. 233; ill. p. 243

86-05 Blood on the Floor - Painting, 1986; p. 272

86-06 Study for Portrait of John Edwards, 1986; ill. No. 21, p. 39 (installation view)

87-01 Triptych 1986 - 7, 1986 - 1987; p. 218; ill. No. 114, p. 217

87-05 Triptych, 1987; pp. 166, 218, 234, 237; ill. pp. 230-231

88-04 Jet of Water, 1988; p. 234; ill. p. 245

88-05 Second Version of Triptych 1944, 1988; pp. 143, 216, 233, 266; ill. No. 21, p. 39 (installation view); p. 232 (right panel, detail); pp. 248-249

88-06 Portrait of John Edwards, 1988; pp. 168, 233; ill. p. 244

91-02 Triptych, 1991; pp. 166, 237; ill. pp. 250-251

92-01 'Self-Portrait', 1991 - 1992; p. 18

Exhibitions

'Francis Bacon: Tate Centennial (2008-9)' , Tate Britain , London , 11 September 2008 - 04 January 2009