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said that Bacon was a gambler by nature and habit, and would often return to paintings late at night, to attack them with a brush to see what would happen. If he disliked the results he would simply have them destroyed. A number of people around Bacon were aware of these traits, and instead hid away
51:. Bacon was a harsh self-critic and destroyed a great many of his own paintings, many of which were created under the influence of drink. This work was long thought lost until it reemerged on the art market in 2016. It is closely related to another one of Bacon's works, the
64:
When asked why he was compelled to revisit Velázquez's
Portrait so often, Bacon said that he had nothing against popes, but merely sought "an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false
69:
manner". Bacon was in the 1950s coming to terms with the death of a cold, disciplinarian father, his early, illicit sexual encounters, and a very destructive sadomasochistic approach to sex, all of which informed this series of paintings.
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is a circa 1954 oil-on-canvas panel painting by the Irish-born, English artist
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Commenting on the freedom with brushwork in this example, Bacon biographer
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Francis Bacon, 'Untitled (Pope)', in conversation with
Michael Peppiatt
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Portrait of
Francis Bacon's violent lover to be auctioned at Sotheby's
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41:, one in a series of many representations of popes he painted after
20:
183:
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the paintings, which have been reemerging since the mid-1990s.
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Study for
Portrait II (After the Life Mask of William Blake)
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Portrait of Isabel
Rawsthorne Standing in a Street in Soho
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Triptych
Inspired by T.S. Eliot's Poem "Sweeney Agonistes"
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Love Is the Devil: Study for a
Portrait of Francis Bacon
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481:
Three
Studies for Figures at the Base of a Crucifixion
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This article about a twentieth-century painting is a
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Version No. 2 of Lying Figure with
Hypodermic Syringe
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Study after Velázquez's
Portrait of Pope Innocent X
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Study after Velázquez's Portrait of Pope Innocent X
654:Three Studies for a Portrait of Henrietta Moraes
662:Three Studies for a Portrait of Muriel Belcher
537:Triptych Inspired by the Oresteia of Aeschylus
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713:Study for a Self-Portrait—Triptych, 1985–86
595:Three Studies for a Portrait of George Dyer
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521:Two Figures Lying on a Bed with Attendants
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731:List of large triptychs by Francis Bacon
619:Portrait of George Dyer and Lucian Freud
460:Study of Red Pope 1962. 2nd version 1971
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869:Cultural depictions of Pope Innocent X
765:Francis Bacon: The Logic of Sensation
116:, 8 April 2013. Retrieved 28 May 2017
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28:, oil on canvas, Francis Bacon, 1954
802:. You can help Knowledge (XXG) by
88:List of paintings by Francis Bacon
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302:Three Studies from the Human Head
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168:. London: Westview Press, 1996.
705:Three Studies for Self-Portrait
689:Three Studies for Self Portrait
603:Portrait of George Dyer Talking
545:Second Version of Triptych 1944
489:Three Studies for a Crucifixion
326:Study for a Bullfight, Number 2
334:Three Studies of the Male Back
1:
627:Three Studies of Lucian Freud
611:Three Studies for George Dyer
849:20th-century painting stubs
748:Influences on Francis Bacon
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859:Paintings by Francis Bacon
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736:Triptychs by Francis Bacon
635:Portrait of Michel Leiris
251:Fragment of a Crucifixion
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16:Painting by Francis Bacon
286:Study for Crouching Nude
576:Triptych, May–June 1973
497:Three Figures in a Room
243:Wound for a Crucifixion
211:Francis Bacon (artist)
48:Portrait of Innocent X
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452:Study from Innocent X
420:Study after Velázquez
270:Figure in a Landscape
59:Des Moines Art Center
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568:Triptych–August 1972
166:Anatomy of an Enigma
742:The Black Triptychs
864:Portraits of popes
342:Blood on the Floor
147:, October 23, 2012
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220:List of paintings
162:Peppiatt, Michael
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227:Crucifixions
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113:The Guardian
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775:(1998 film)
767:(1981 book)
505:Crucifixion
353:Head series
294:Two Figures
235:Crucifixion
843:Categories
143:. London:
94:References
716:(1985–86)
472:Triptychs
447:(c. 1954)
145:Sotheby's
377:Head III
82:See also
61:, Iowa.
45:'s 1650
757:Related
401:Head VI
385:Head IV
369:Head II
262:Figures
155:Sources
57:in the
708:(1979)
700:(1973)
692:(1973)
673:(1967)
665:(1966)
657:(1963)
638:(1976)
630:(1969)
622:(1967)
614:(1967)
606:(1966)
598:(1964)
579:(1973)
571:(1972)
548:(1988)
540:(1981)
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516:(1967)
508:(1965)
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492:(1962)
484:(1944)
463:(1971)
455:(1962)
439:(1954)
431:(1953)
423:(1950)
404:(1949)
396:(1949)
393:Head V
388:(1949)
380:(1949)
372:(1949)
364:(1949)
361:Head I
345:(1986)
337:(1970)
329:(1969)
321:(1968)
313:(1955)
305:(1953)
297:(1953)
289:(1952)
281:(1946)
273:(1945)
254:(1950)
246:(1933)
238:(1933)
172:
412:Popes
67:fauve
800:stub
170:ISBN
110:".
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164:.
130:^
831:e
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817:v
806:.
203:e
196:t
189:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
