Forty such canvasses, found in Bacon’s studio after he died, are now in Dublin City Gallery The Hugh Lane. View Deuxième version du triptyque 1944 (Second Version of the Triptych 1944) by Francis Bacon sold at Evening & Day Editions on London Auction 11 June 2015 2pm & 6pm. This triptych, numbered and signed by Francis Bacon, consists of 3 prints. Melville doubted that Bacon gave any of his paintings the title ‘Pope’, and pointed out that when he was working for Erica Brausen at the Hanover Gallery, ‘we used to call them “cardinals” rather than “popes” in the presence of visitors, to make sure that no one would be offended.’ Melville predicted that all the paintings in the 1964 catalogue would be thenceforth known by the titles assigned to them by Ronald Alley. In the past most of Bacon’s paintings have been described as ‘oil on canvas’. 2007. Bacon sera refusé à l’exposition surréaliste de 1936. 1357-1359, Bacon and the Mind: Art, Neuroscience and Psychology, London: Thames & Hudson, London: The Estate of Francis Bacon, pp. 1, 40-43, 74-76). 7, 24; ill. Cover (right panel, detail), No. Reproduction de Francis Bacon Triptyque, 1944 Seconde Version - Partie 1. The Irish-born artist Francis Bacon (1909–1992) painted 28 known triptychs between 1944 and 1986. Francis Bacon [The butcher's meat: Francis Bacon], 인간의 피냄새가 내 눈을 떠나지 않는다: 프랜시스 베이컨과의 대담 [Conversations with Francis Bacon], Richard Dorment, ‘'Bacon's changing monsters'’ 3 Feb.. Robert Melville, reviewing the 1964 Alley/Rothenstein catalogue raisonné in Studio International, July 1964, observed that Study from Innocent X, 1962 (62-2), despite having been painted only two years previously, had already been given three different (if unofficial) titles – Red Pope, Red Pope on Dais, and Red Figure on a Throne. The question of ‘finish’, as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. A partir de 1933 et jusqu’en 1944, Bacon va se consacrer de multiples exp riences artistiques qui vont le conduire r aliser le tryptique "Trois tudes de figure la base d’une Crucifixion", dont la source est la "Crucifixion " de Picasso peinte en 1930. Peinture à l'huile sur toile. The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. 24-25 (titled 'Second Version Of The Triptych of 1944'), Francis Bacon: 'Taking Reality by Surprise', Dublin: Hugh Lane Municipal Gallery of Modern Art Even the fact that Bacon gave Second Version of Triptych 1944 to the Tate Gallery to hang alongside Three Studies for Figures at the Base of a Crucifixion – as, in Gilbert de Botton’s words, a ‘gift of comparison in perpetuity to the nation’ - suggests that he envisaged such a … Et Bacon, l'une des stars de la maison, est logiquement le premier à tenir la vedette de ces créations audio nouvelle génération. 12 Oct. 1989-7 Jan. 1990, Los Angeles: Los Angeles County Museum of Art It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. Tableau peint à la main dans nos ateliers. Francis Bacon: Late Paintings (18 works), CATALOGUE RAISONNÉ FOCUS: STILL-LIFE – BROKEN STATUE AND SHADOW, 1984, Francis Bacon: Francophile - new book explores Bacon's love of France. DACS 2018, Three Studies for Figures at the Base of a Crucifixion, 1944, , Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, , Centre national d'art et de culture Georges Pompidou, , Hugh Lane Municipal Gallery of Modern Art, 'Francis Bacon: Tate Centennial (2008-9)', 'Francis Bacon, Monaco and French Culture (2016)', 'Beyond Belief: Modern Art and the Religious Imagination', 'Klasycy XX wieku: Picasso, Bacon, Beuys, Duchamp, Kandinsky, Warhol, Malewicz, Dalí, Mondrian, Brancusi', 'A Bigger Splash: British Art from Tate 1960-2003', , Pavilhão Lucas Norgueira Garcez-Oca/ Instituto Tomie Ohtake, 'Francis Bacon/Henry Moore: Flesh and Bone', 'Francis Bacon and Henry Moore: Terror and Beauty', , Musée de la Musique, Philharmonie de Paris 2, Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Au cours de ces années, il détruit la plupart de ses œuvres antérieures. » Mais il subira des influences : Picasso d’abord (qu’il découvre pour la première fois lors d’une exposition à Paris à la fin des années 1920). This precept has been adhered to in the present catalogue. 2005, Norwich: Sainsbury Centre for Visual Arts But he employed many other media, and was fond of mixing sand, dust, fibres and pastel, for example, with his oils. Available for sale from Galerie Lelong & Co., Francis Bacon, Triptyque 1944 (1944), Litograph on Arches paper, 75.4 × 169.5 cm Il regarde aussi Goya, Velázquez, Goya, Monet, Van Gogh, les films d’Eisenstein (« la Grève » notamment), de Buñuel (« le Chien andalou »), les photos de Muybridge (dont les clichés saisissent la décomposition du mouvement). Among his signature motifs were screaming and disfigured heads, grappling homosexual lovers, and flanks of meat, and his style is characterized by its flat backgrounds and sense of motion, derived from the frequent use of photography and film stills as sources for portraiture. Moreover, if, Robert Melville, reviewing the 1964 Alley/Rothenstein catalogue raisonné in, ''Francis Bacon' Tate Britain 11 September 2008-4 January 2009 (and two publications)', ''Lost' Bacon painting expected to fetch £1.5m', 'A British Outsider Embraced With a French Blockbuster', 'A Course of Severe and Arduous Trials': Bacon, Beckett and Spurious Freemasonry in Early Twentieth-Century Ireland, 'A Magnificent Mischief-Maker: To be in Francis Bacon's company was to be dazzled and confused, seduced and stunned', 'A Note on the Development of Francis Bacon's Painting', 'A Trail of Human Presence: On Some Early Paintings of Francis Bacon', 'Ambivalent Homecomings: Louis le Brocquy, Francis Bacon and the Mechanics of Canonization', 'Another Look at Bacon: Newfound Canvases Shed More Light on a Master', 'Apparitions of evil: Mr. Francis Bacon's new paintings', 'Art Dispatch from Europe: Düsseldorf. Sa liste d’influences artistiques est longue, de l’imagerie catholique sombre de Diego Velázquez aux perspectives fragmentées de Picasso. Paintings with the suffix ‘D’ in the catalogue (for example 67-15D) are destroyed. Access more artwork lots and estimated & realized auction prices on MutualArt. Bacon destroyed many hundreds of paintings. So it's no surprise that some portraits had two heads', 'Homosexuality out of the margins and in the heart', 'How Italian artists make a fortune faking Bacon', 'Hugh Lane gallery profits from 'ghastly misunderstanding' over Bacon's studio', 'Hundreds of 'lost' Bacon sketches surface in studio', 'Hunt for 'missing' works of Francis Bacon', 'Hunting of the ark: men, beasts and gods', 'I offered Bacon £50,000 a picture but rival blackmailed him over tax bill, claims dealer', 'If Paintings Had Voices, Francis Bacon's Would Shriek', 'In memoriam: David Sylvester: The art of the interview', 'International Studio: Master of the Monstrous', 'John Edwards: Francis Bacon's model companion, in good times and in bad', 'King of pain / pope of pop / memo from Turner', 'London Galleries: Convulsions of Mind and Body', 'Lying figure: Francis Bacon and the female nude', 'Madrid: Francis Bacon: Galerie Marlborough', 'Modern painting and sculpture: Young Contemporaries exhibition', 'Mr. 38, p. 57, ill. no. Furthermore, for the ‘post-Alley’ years, 1963 to 1991, the titles established by Bacon and Marlborough Fine Art have been adopted consistently; for example, although Painting, 1980 (80-09) was exhibited in 1999 with the descriptive title Three Figures, One with a Shotgun, subsequent research has shown that its original title was Painting, and has been reverted to here. Some of the titles initially given to them have been revised here; for example, ‘Figures in a Landscape’, c.1956 (56-11) has been substituted for ‘Two Figures in the Grass’, which is more logical in view of its relationship with Figures in a Landscape, 1956-57 (57-01). (75.2 x 55.9 cm); Signed; Edition. 12 Sep. 2013-5 Jan. 2014, New York: Gagosian Gallery Browse upcoming and past auction lots by Francis Bacon. A compelling reason for ceasing to adopt these categories is that of the nine paintings Alley listed as ‘Destroyed’ in 1964, four in fact survive. Undocumented paintings, to which only approximate (circa) dates can be attached, are generally placed at the end of the year in which they are believed to have been painted; this rule is departed from when there is firm evidence that a painting was made at a specific date during a certain year (for example ‘Street Scene (with Car in Distance)’, 1984 (84-03). Washington: The Smithsonian Institution, London: Thames & Hudson, pp. Francis Bacon déclarera à plusieurs reprises, non sans fierté : « J’ai eu la chance de ne pas avoir de professeur. Francis Bacon at 80' (pp. Francis Bacon. (, Michael Kimmelman, ‘'UNNERVING ART'’ [Part of the cover story 'Unnerving Art. 24 1/2 x 18 1/4 in. Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete (by burning the fragments, for example). His partial destructions were, typically, ambivalent, while as the creator of images that had ‘failed’, the connotations of violence in his taking a knife to them has clear psychological implications. Triptych: Each panel: 22, 24, 1356, 1384; ill. pp. 2019 - Reproduction tableau de Francis Bacon, Seconde Version du Triptyque de 1944. Bacon destroyed many hundreds of paintings. 21, p. 39 (installation view); p. 232 (right panel, detail); pp. ', 'Bacon not artist of his 'self-portrait'? Other paintings with this suffix in the present catalogue were destroyed by Bacon but had been exhibited publicly before he did so; since images of them are accessible in catalogues, they have been included for the sake of completeness. Second Version of Triptych 1944 [Seconde version du triptyque de 1944], 1988 Huile et peinture aérosol sur toile (, Richard Cork, ‘'Home thoughts from an incurable surrealist'’ 16 Mar.. 95, p. 142, The information in the present section on francis-bacon.com is based on the data in, ‘Notes for readers’ are extracted from the, Vol.1, p.102 and 103) and elaborate on the. En 1940, Bacon détruit la quasi-totalité de ses premières toiles. Painting in a Godless World', 'Robert Melville has a look at a book about Francis Bacon', 'Round the Galleries: Crisis Under the Skin', 'Round the London Galleries: The Catalan Magician', 'Sexing the Canvas: Calling on the Medium', 'Shafts from Apollo's Bow - The Return of the Problem Picture', 'Show that brings home the Bacon to a new market', 'Sides of Bacon: A portrait of the artist by his friends', 'Soho's days of wine and poses and whisky galore', 'Talk at the Palais des Beaux-Arts, Brussels, 1971', 'Tate Gallery: Exhibition of recent acquisitions', 'The American way with art: Francis Bacon - Recent Paintings', 'The Art World: Aesthetics of Mutilation', 'The Body Unbound: The postmodern aesthetics of Francis Bacon', 'The Bones and the Flesh: Henry Moore and Francis Bacon', 'The Devil in Mr Bacon: Film of the Week: Love is the Devil', 'The Horrific Vision of Mr. Francis Bacon', 'The Master of the Macabre, Francis Bacon', 'The Mather Award: Citation / On the strange case of Frances Bacon', 'The Narrative of Perception and the Perception of Narrative', 'The Primal Cry of Horror: The A-theology of Francis Bacon', 'The SR Interview: "I Think About Death Every Day"', 'The ambiguous precision of Francis Bacon', 'The art of infuriating: Giles Waterfield on Bacon', 'The curse of the buddha and other whodunits', 'The fine art of drinking at Muriel's bar', 'The making of an artist - from weakling to enigmatic master', 'The paintings of Mr. Bacon: A prophet of doom', 'This Teeming Womb, This Non-Isle, This Non-England', 'Three Bacon paintings to be sold for £2m', 'Too risqué for Iran, Bacon's 'lost' painting goes on show', 'Too risqué for Iran, Bacon's nudes may be shown in London', 'Twentieth-Century Choice at the Marlborough', 'Two British art patrons of the 1940s and 1950s: Sir Colin Anderson and Peter Watson', 'Unseen paintings may provide evidence in Bacon court case', 'Visions of a Violent Century In Francis Bacon's Paintings: Bacon's Visions of a Violent, Disjointed Century', 'Vulgar Pictures: Bacon, de Kooning, and the Figure under Abstraction', 'What the critics said: Bacon in his prime', 'You should see his bedroom... Why we need clutter', '£1.8m price tag for 'lost' Bacon painting', Bacon a Brera: e quaranta disegni di Grosz in sosta a Milano, Bacon: 1909-1992: Deep Beneath the Surface of Things, Changing Perceptions: Milestones in Twentieth-Century British Portraiture, Conversas com Francis Bacon: O cheiro do sangue humano não desgruda seus olhos de mim, De Manet à Bacon: La collection Jacqueline Delubac, El olor a sangre humana no se me quita de los ojos: conversaciones con Francis Bacon, Erica Brausen: Premier Marchand de Francis Bacon, Francis Bacon (1909-1992): Three Figures at the Base of a Crucifixion c. 1944', Francis Bacon Kreuzigung: Versuch, eine gewalttätige Wirklichkeit neu zu sehen, Francis Bacon ou la brutalité du fait: suivi de cinq lettres inédites de Michel Leiris à Francis Bacon sur le réalisme, Francis Bacon/Henry Moore: Flesh and Bone, Francis Bacon: Catalogue Raisonné and Documentation, Francis Bacon: L'art de l'impossible: Entretiens avec David Sylvester, Francis Bacon: Lo Sagrado y lo Profano / The Sacred and the Profane, Francis Bacon: Paintings from The Estate, 1980-1991, Francis Bacon: Recent Paintings 1968-1974, Francis Bacon: The Early and Middle Years, 1928-1958, Francis Bacon: The Papal Portraits of 1953, Francis Bacon: Vier Studien zu einem Porträt, Francis Bacon: logica van de gewaarwording, Interviuri cu Francis Bacon: brutalitatea realităţii, L'odeur du sang humain ne me quitte pas des yeux: Conversations avec Francis Bacon, La brutalità delle cose: conversazioni con David Sylvester, Movement and Gravity: Bacon and Rodin in Dialogue, Museum of Modern Art Ludwig Foundation Vienna, New Art New World: British Art in Postwar Society, Robert and Lisa Sainsbury Collection: Volume I: European 19th and 20th Century Paintings, Drawings and Sculpture, Roy de Maistre: The English Years 1930-1968, Rozmowy z Francisem Baconem: brutalność faktu, Studio and Cube: On the relationship between where art is made and where art is displayed, The Battle for Realism: Figurative Art in Britain During the Cold War 1945-1960, [The Rubens Prize awarded to Francis Bacon], ‘Just a pile of paint and a nightmare of chic thrills’, 感覚の論理 : 画家フランシス・ベーコン論 [Logic of sensation: Francis Bacon], 肉への慈悲 : フランシス・ベイコン・インタヴュー [Interview with Francis Bacon], 나는 왜 정육점의 고기가 아닌가? Two of these are paintings which had been sold and were destroyed in accidents while in private ownership; a third was damaged beyond restoration when it fell into Tokyo Dock. So where has it all gone? Expo jusqu'au 20/01/2020 In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon’s indifference – or hostility – towards his pre-1944 œuvre). It was neither whimsical nor accidental that he called so many of them ‘Study for…’: he was being not so much tentative as open-ended. London: Thames & Hudson in assoc. 103, 112 (titled 'Second Version of Three Studies for Figures at the Base of a Crucifixion'), 266, London: Tate Britain 32, pp. ]6:2, Summer. XII, p. 52 (right panel), p. 108; ill. No. 9 oct. 2019 - Description, analyses et notre avis sur l'exposition temporaire dédiée à Francis Bacon au Centre Pompidou. Andre malerier fra Triptych-galleriet. Reproduction de Francis Bacon, Seconde Version du Triptyque de 1944. Titles of paintings placed in inverted commas, for example ‘Figure with Cricket Pad’, c.1982 (82-09), were not applied by Bacon or by his gallerists, and are merely descriptive. Access more artwork lots … 60 exemplaires. The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side. Delivered to Marlborough Fine Art 31 August 1988, © The Estate of Francis Bacon. Francis Bacon: A Terrible Beauty (22 works, works on paper and selected archival material, illus.). Available for sale from Phillips, Francis Bacon, Deuxième version du triptyque, 1944 (Second Version of the Triptych, 1944) (S. 24; T. 25) (1989), The comp… Among the paintings with descriptive titles in the catalogue, many did not emerge into public view until after 1998. An atheist and nihilist, the only ‘finish’ he recognised – and was haunted by – was death: to finish a painting was, perhaps, analogous to dying. Peindre Un Tableau Toile Tableau Jonone Peintre Anglais. L’artiste ne revendiquera son travail qu’à partir de 1944. View Deuxième version du triptyque, 1944 (Second Version of the Triptych 1944) (1989) By Francis Bacon; Lithographs in colors, on Arches Infinity paper; all I. Artistreproduksjoner » Bacon » alterskap »Francis Bacon Triptyque, 1944 Andre versjon - Del 1 . ); Signed; Edition. Imaginez, juste un instant, contempler la Seconde version du triptyque de 1944 de Bacon, dépeignant le cri d'une créature dinosaurienne dentée. 11 Feb. 1990-29 Apr. PARIS – Si de bons artistes empruntent pendant que les grands volent, Francis Bacon était un voleur particulièrement averti. 1943-1944 La lecture des Euménides d'Eschyle (vers 458 av. Vidéo en boucle. 7, 13, 29, 46, 48-49, 53-54; ill. No. 2 valg av transport: Valset lerretstransport: det billigste, lerretet ditt blir sendt rullet i et rør, og du kan få det montert i ditt land, eller montere det selv. Lithographie, 1989. 59, unpaged (foldout), Francis Bacon: In Conversation with Michel Archimbaud, pp. ]5 Sep.. (, Robin Stringer, ‘'Bacon gives his £3m Triptych to the Tate'’ 28 Nov.. He began working in the format in the mid-1940s with a number of smaller scale works before graduating to large examples in 1962. Acheter une reproduction de tableau de Francis Bacon Triptyque, 1944 Seconde Version - Partie 2 à notre atelier. 24 May. View Deuxième version du triptyque 1944 (after, Second Version of the Triptych 1944) by Francis Bacon sold at Evening & Day Editions on London Auction 9 June 2016. Moreover, if Fragment of a Crucifixion, 1950 (50-02), in which more than half of the canvas is unpainted, was considered by Bacon a ‘finished’ painting, it is counterintuitive to categorise ‘Lying Figure’, c.1953 (53-21), for example, as ‘unfinished’. Triptyque 1944. 2007-30 Jul. ', 'Art and Artists: James Tissot Vulgar Society', 'Art attack: Portrait of Bacon's violent lover for auction', 'Art in London: Paintings, Pleasant and Unpleasant: Francis Bacon Studies', 'Art news from Los Angeles: Bacon, Bloom; Los Angeles group', 'Art, death and immortality over a naked lunch’, 'Artist of bleak vision, composer of mystical faith', 'At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction', 'Bacon 'blackmailed' by art gallery owner, court is told in dispute over £100m fees', 'Bacon and Bourgeois Save the Biennale: But Leave the Olive in a Pickle', 'Bacon and Giacometti: Likeness and Difference', 'Bacon and Moore again in Powerful Relation', 'Bacon estate is 'trying it on' court is told', 'Bacon film hit by dispute over who owns artist's words', 'Bacon gave secret $4m to beloved banker', 'Bacon left his best friend an £11m fortune. 166, 181; ill. No. Francis BACON 1909 - 1992 Deuxième version du triptyque 1944 - 1989 3 lithographie en couleurs Signées et justifiées "EA" h: 74,50 w: 56 cm Bibliographie : Sabatier 24 Commentaire : 3 lithographs in colors; signed and justified 29.3 x 22.04 in. FRANCIS BACON 1909 - 1992 DEUXIÈME VERSION DU TRIPTYQUE 1944 (SABATIER 24) Thetriptych, comprising three lithographs printedin colours, 1989, each signed in pencil, inscribed 'E.A.' 143, 216, 233, 266; ill. No. The so-called ‘slashed canvasses’ are not (with one exception, Double Portrait of Lucian Freud and Frank Auerbach, 1964 (64-03)) included in this catalogue. 59, 70, 101, 138, 160; ill. No. 1, 1969), 1971, Untitled, from In Memory of George Dyer, 1976, An exhibition poster for Grand Palais, October - January 1972, 1972, Natura morta con griglia lanterna e vaso, ca 1940. all S. 75 x 56 cm (29 1/2 x 22 in. On 30 July 1996 David Sylvester wrote to the then owner of ‘Lying Figure’, c.1953 (53-21), who was disappointed he had not included it in the Bacon retrospective at the Centre Pompidou, Paris. Each print measures 75,4 x 56,5 cm. The five works Bacon included in his first exhibition, in 1930, all had specific titles. Tableau peint à la main dans nos ateliers. Estimation 15 000 - 20 000 € His lasting influence can be seen in particular among Young British Artists such as Damien Hirst, Jenny Saville, and Jake and Dinos Chapman. 362, p. 211 (right panel), Paris: Musée Picasso “I would like my pictures to look as if a human being had passed between them, like a snail leaving its trail of the human presence... as a snail leaves its slime,” he once said. in. 102-103, Triptych: Three Studies after Francis Bacon, pp. 78 x 58 57, pp. methodology and thinking behind the compilation and presentation of some data, such as titles, dates and media. This triptych, numbered and signed by Francis Bacon, consists of 3 prints. New Haven: Yale University Press in assoc. 1990, New York: Museum of Modern Art (. 134, 135 (left panel), 136 (centre panel), 137 (right panel), ill. [no page number] (installation shot), Oxford: Ashmolean Museum (62.2 x 46.4 cm)all S. 29 5/8 x 22 in. 90, pp. 5 May. Four canvasses removed from Bacon’s studio in 1978 appeared on the market in April 2007, and a further five, from a separate source, were sold in June 2007; six fragments of canvas which had been given in the 1950s to the Cambridge artist Lewis Todd, who painted on their primed sides, were auctioned in March 2013. XI, p. 51 (centre panel), No. I think that a different attitude should be taken when an artist has been dead for some years.’ Sylvester volunteered the comment: ‘As we all know, works which an artist abandoned can still be works of great value: there are any number of such works by a variety of masters in the museums of the world. Peinture à l'huile sur toile. 1990-28 Aug. 1990. 56 (centre panel), 140; ill. no. 62-63, 64 (centre panel), Francis Bacon: His Life and Violent Times, Venice: Museo Correr Bacon's new paintings: African animals', 'Mr. Le premier triptyque peint par Bacon en 1944 (Three Studies for Figures at the Base of Cruxifixion [Trois études de figures au pied d’une crucifixion] Londres, Tate) est encore conforme au modèle historique de ce type d’œuvres qui décomposent les scènes d’une narration.