Kundera, Milan & Borel, France. Bacon: Portraits and Self-portraits. London: Thames & Hudson, 1996. ISBN 0-500-09266-4 Meanwhile, sometime before July 1591, Bacon had become acquainted with Robert Devereux, the young earl of Essex, who was a favourite of the queen, although still in some disgrace with her for his unauthorized marriage to the widow of Sir Philip Sidney. Bacon saw in the earl the “fittest instrument to do good to the State” and offered Essex the friendly advice of an older, wiser, and more subtle man. Essex did his best to mollify the queen, and when the office of attorney general fell vacant, he enthusiastically but unsuccessfully supported the claim of Bacon. Other recommendations by Essex for high offices to be conferred on Bacon also failed. 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, [4] typically focused on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on single motifs; including the 1930s Picasso-influenced bio-morphs and Furies, 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. Biographers believe that Bacon received an education at home in his early years, and that his health during that time, as later, was delicate. He entered Trinity College, Cambridge, in 1573 at the age of 12, living for three years there with his older brother Anthony. 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. [61] In 1933, his patron Eric Hall commissioned a series of three paintings based on the subject. [62] The early paintings were influenced by such old masters as Matthias Grünewald, Diego Velázquez and Rembrandt, [61] but also by Picasso's late 1920s/early 1930s biomorphs and the early work of the Surrealists. [63] Popes [ edit ]

Bacon met George Dyer in 1963 at a pub, [38] although a much-repeated myth claims they met when Dyer burgled Bacon's flat. [39] Dyer was about 30 years old, from London's East End. 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. [40] 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. [41] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. I'm very sad that if the club closes at the end of the month,' said Lane. 'I sincerely hope it does not die and can survive.' 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 composition of especially the nude figures is influenced by the sculptural work of Michelangelo. 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 Eadweard Muybridge's chronophotography. [64] The screaming mouth [ edit ] Still from Sergei Eisenstein's 1925 silent film Battleship Potemkin Zweite, Armin. Francis Bacon: The Violence of the Real. London: Thames and Hudson, 2006. ISBN 0-500-09335-0Rump, Gerhard Charles. Francis Bacons Menschenbild. In: Gerhard Charles Rump: Kunstpsychologie, Kunst und Psycoanalyse, Kunstwissenschaft. (1981), pp.146–168 ISBN 3-487-07126-6 Solomon, Kat (22 September 2021). "Searching for Artifice in "The Death of Francis Bacon" ". Chicago Review of Books . Retrieved 6 November 2023. Bacon attempts to give the readers a nerve to face the death by arguing that the actual pain or death is not as much as we think about it. He starts the essay with a simile of death and darkness and the similarity in the fear that is associated with both. He argues that the death is not as horrifying as it appears to be. However, mourns and groans of the dying person along with the weeping and harsh expression of his dear one makes the sight of death horrifying. Peppiatt, Michael (2015). "Conversations at Night". Francis Bacon in Your Blood: A Memoir. United Kingdom: Bloomsbury. ISBN 978-1-4088-5624-6. Norwich, John Julius (1985–1993). Oxford illustrated encyclopedia. Judge, Harry George., Toyne, Anthony. Oxford [England]: Oxford University Press. p.29. ISBN 0-19-869129-7. OCLC 11814265.

The Death of Francis Bacon: The passion of an artist on his deathbed". www.independent.ie. 16 January 2021 . Retrieved 4 November 2023. Bacon concluded the essay by praising the virtues of bravely pursuing to die for the country or noble cause. Whenever a man dies, serving his country, or for a noble cause, the gates of fame opens for him and he receives a lot of adoration even from those who envy and condemns them during the life. Of Death Analysis Genre:Jacobi, Carol (2021). Out of the Cage: The Art of Isabel Rawsthorne. Thames and Hudson. ISBN 978-0500971055. Max Porter is a writer of boundless energy and playfulness who enjoys combining art forms – fiction, poetry, drawing, collage, music – in his books. His acclaimed first novel, Grief is a Thing with Feathers (2015), was a meditation on loss which drew on Ted Hughes’s poetry. In his Booker Prize longlisted second novel, Lanny (2019), he experimented with typeface and showed again that he is as interested in how words sound and look as he is concerned with their meanings. In March 1626, Bacon was performing a series of experiments with ice. While testing the effects of cold on the preservation and decay of meat, he stuffed a hen with snow near Highgate, England, and caught a chill. Ailing, Bacon stayed at Lord Arundel's home in London. The guest room where Bacon resided was cold and musty. He soon developed bronchitis. On April 9, 1626, a week after he had arrived at Lord Arundel's estate, Francis Bacon died. The younger of Sir Nicholas and Lady Anne's two sons, Francis Bacon began attending Trinity College, Cambridge, in April 1573, when he was 12 years old. He completed his course of study at Trinity in December 1575. The following year, Bacon enrolled in a law program at Honourable Society of Gray's Inn, the school his brother Anthony attended. Finding the curriculum at Gray's Inn stale and old fashioned, Bacon later called his tutors "men of sharp wits, shut up in their cells if a few authors, chiefly Aristotle, their dictator." Bacon favored the new Renaissance humanism over Aristotelianism and scholasticism, the more traditional schools of thought in England at the time.

Hugh Lane gallery profits from 'ghastly misunderstanding' over Bacon studio". The Irish Times. Archived from the original on 6 March 2019 . Retrieved 4 March 2019. Marczynski, Joe (9 September 2021). "A Writer's Deathbed Portrait of Francis Bacon". The New York Times. ISSN 0362-4331 . Retrieved 4 November 2023. Boggan, Steve (2 February 2002). "Battle called off between Bacon estate and gallery". The Independent. Independent UK. Archived from the original on 22 October 2019 . Retrieved 22 October 2019. Rothenstein, John (intro); Alley, Ronald. Catalogue raisonnè and documentation, 1964. Francis Bacon. Thames and Hudson Liu, Max (7 January 2021). "The Death of Francis Bacon by Max Porter is too slight to be truly rewarding". inews.co.uk . Retrieved 4 November 2023.

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. Kathleen Clark's 1939 book of X-Ray photographs was a major source. [65] He also used the works of Matthias Grünewald [66] and photographic stills of the nurse in the Odessa Steps scene in Eisenstein's 1925 silent film Battleship Potemkin. 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 pince-nez spectacles hanging from her blood-stained face. He referred to the image throughout his career, using it as a source of inspiration. [67]