Francis Bacon British Surrealist Gouache on Paper
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Description
Gouache on paper. Featuring a portrait of a man. Signed Francis Bacon on the lower left corner. Inscribed FB. 50 and stamped FINE ARTS London on verso. Attributed to Francis Bacon (1909-1992, British). 27 x 19.5 cm (10.6 x 7.7 inches). PROVENANCE: Southern Ontario estate
Francis Bacon (1909-1992) was an Irish artist and one of the most unique, engaging figurative painters to emerge during the post-war period. His grotesque imagery—contorted limbs, howling mouths agape, blood—served as method of exploring nihilism and death at a time when Europe had been repeatedly savaged by war. Inspired by both the Old Masters and Surrealism, Bacon produced several compositions based on the work of other painters, notably including his arresting Study After Velazquez’s Portrait of Pope Innocent X (1953). In this iconic work, Bacon transforms Diego Velazquez’s classic portrait into a screaming, terrifying figure. “I feel ever so strongly that an artist must be nourished by his passions and his despairs,” he once said. “The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.” Born on October 28, 1909 in Dublin, Ireland, the self-taught artist moved to London to escape a hostile home life. Bacon became part of the local art scene in the British capital, which included his friends Lucian Freud, Isabel Lambert, and John Deakin. After the death of Bacon’s lover in 1972, his work became even more personalized, with a renewed focus on mortality. In 1963, a retrospective at the Guggenheim Museum in New York brought international prestige, which continued until his death on April 28, 1992 in Madrid, Spain. Today, his works are held in the collections of The Museum of Modern Art in New York, the Tate Gallery in London, the Art Institute of Chicago, the Hugh Lane in Dublin, and the Albertina in Vienna, among others.
Francis Bacon (1909-1992) was an Irish artist and one of the most unique, engaging figurative painters to emerge during the post-war period. His grotesque imagery—contorted limbs, howling mouths agape, blood—served as method of exploring nihilism and death at a time when Europe had been repeatedly savaged by war. Inspired by both the Old Masters and Surrealism, Bacon produced several compositions based on the work of other painters, notably including his arresting Study After Velazquez’s Portrait of Pope Innocent X (1953). In this iconic work, Bacon transforms Diego Velazquez’s classic portrait into a screaming, terrifying figure. “I feel ever so strongly that an artist must be nourished by his passions and his despairs,” he once said. “The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.” Born on October 28, 1909 in Dublin, Ireland, the self-taught artist moved to London to escape a hostile home life. Bacon became part of the local art scene in the British capital, which included his friends Lucian Freud, Isabel Lambert, and John Deakin. After the death of Bacon’s lover in 1972, his work became even more personalized, with a renewed focus on mortality. In 1963, a retrospective at the Guggenheim Museum in New York brought international prestige, which continued until his death on April 28, 1992 in Madrid, Spain. Today, his works are held in the collections of The Museum of Modern Art in New York, the Tate Gallery in London, the Art Institute of Chicago, the Hugh Lane in Dublin, and the Albertina in Vienna, among others.
Condition
All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed .
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
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Francis Bacon British Surrealist Gouache on Paper
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