Francis Bacon - Irish Artist - 1909 to 1992
Francis Bacon Wednesday, October 7, 2009
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(Dublin, 1909 - Madrid, 1992) Irish-born English painter, a leading figure of the so-called New Figuration, a trend that developed over the years sixties, after the exhaustion of informality. In the art scene of postwar figurative expressionism Bacon occupies a special place, difficult to relate to some of the various artistic tendencies that run through these years. All pictorial history Bacon is characterized by a profound independence, that makes his painting an unmistakable reference in European art of the second half d the twentieth century. Bacon also greatly influenced the English Pop movement artists. 
After a childhood marked by loneliness and illness, Bacon spent his youth in his native Ireland. In 1925 he established later in London, where he works as a decorator. She is interested in followed by painting, especially after their stays in the twenties, in Berlin and Paris, where together with the expressionist (Otto Dix, Max Beckmann), was impressed by the work of Picasso, which must be determined whether training is considered self-taught Bacon.
Although his first trial date from the period between 1929 and 1944 (most of these fabrics will be destroyed by the artist himself), is four postwar
ndo discloses the type of paint that will make you famous. Already in his Three Studies for Figures at the Base of a Crucifixion, 1945, displayed the keys to which answers his painting in the following decades.
Bacon's tormented vision was necessarily calling the attention of a public traumatized by the experience of war and all its evils, but painters as well as informal guidance existential anguish to the indeterminacy of material abstraction, Bacon choose the human figure as the centerpiece of his paintings, and subjected to deformation and changes to a level previously unknown in the history of Expressionism. Whether in his portraits, as in his self-portraits or more complex compositions, the mutilated bodies, stunted bodies and all sorts of anatomical abnormalities result in a horror picture that is inserted into an indefinite space of monochromatic, which communicates a sense of isolation and claustrophobia.
Bacon's bid for figuration is made from the most
absolute subjectivity, taking the forefront those elements that are suited to succeed in expressing the tortured reality of modern man. For the construction of the beings that populate his paintings make use of the gesture of informality, Expressionist distortion and surreal dreamlike evocation (the emotion in its various formulations). Such beings are superimposed on large areas of flat color, carefully sorted, for it follows the rules learned more austere geometric abstract tradition, following the most rigorous rationality composition. Emotion and rationality come together as in the painting of Bacon and balance are combined in an extraordinarily fertile and attractive.
those From Three Studies for Figures at the Base of a Crucifixion in which masses of human flesh writhing on themselves to end up in exaggerated cry of anguish and pain, Bacon funds often use red to locate their tortured figures. A good example is another work post, Woman pouring a bowl and paralytic child crawling by Muybridge (1965, Stedelijk Museum, Amsterdam), where the corporeal bodies representing the mother and child are held in a delicate balance on a weak oval structure, or the later study of the human body (1982, National Museum of Modern Art, Paris), which reduced the male body appears to sex as yal
lower extremities. 
Bacon's interest in self-portraits by Rembrandt and Velazquez all the work is evident both in the use of pictorial fillings and in the reinterpretation of works like the portrait of Innocent X, which in 1961 made an eerie version without But as he himself confessed, failed to overcome the original work of Velázquez.
iconographic sources that Bacon was inspired to create his works could come, as has been said, the history of painting, but it was the Muybridge photo albums (with his studies on human and animal movement) and photographs stock of newspapers and magazines or film stills Eisenstein and Buñuel which was its essential file.
After a childhood marked by loneliness and illness, Bacon spent his youth in his native Ireland. In 1925 he established later in London, where he works as a decorator. She is interested in followed by painting, especially after their stays in the twenties, in Berlin and Paris, where together with the expressionist (Otto Dix, Max Beckmann), was impressed by the work of Picasso, which must be determined whether training is considered self-taught Bacon. Although his first trial date from the period between 1929 and 1944 (most of these fabrics will be destroyed by the artist himself), is four postwar
ndo discloses the type of paint that will make you famous. Already in his Three Studies for Figures at the Base of a Crucifixion, 1945, displayed the keys to which answers his painting in the following decades. Bacon's tormented vision was necessarily calling the attention of a public traumatized by the experience of war and all its evils, but painters as well as informal guidance existential anguish to the indeterminacy of material abstraction, Bacon choose the human figure as the centerpiece of his paintings, and subjected to deformation and changes to a level previously unknown in the history of Expressionism. Whether in his portraits, as in his self-portraits or more complex compositions, the mutilated bodies, stunted bodies and all sorts of anatomical abnormalities result in a horror picture that is inserted into an indefinite space of monochromatic, which communicates a sense of isolation and claustrophobia.
Bacon's bid for figuration is made from the most
absolute subjectivity, taking the forefront those elements that are suited to succeed in expressing the tortured reality of modern man. For the construction of the beings that populate his paintings make use of the gesture of informality, Expressionist distortion and surreal dreamlike evocation (the emotion in its various formulations). Such beings are superimposed on large areas of flat color, carefully sorted, for it follows the rules learned more austere geometric abstract tradition, following the most rigorous rationality composition. Emotion and rationality come together as in the painting of Bacon and balance are combined in an extraordinarily fertile and attractive. those From Three Studies for Figures at the Base of a Crucifixion in which masses of human flesh writhing on themselves to end up in exaggerated cry of anguish and pain, Bacon funds often use red to locate their tortured figures. A good example is another work post, Woman pouring a bowl and paralytic child crawling by Muybridge (1965, Stedelijk Museum, Amsterdam), where the corporeal bodies representing the mother and child are held in a delicate balance on a weak oval structure, or the later study of the human body (1982, National Museum of Modern Art, Paris), which reduced the male body appears to sex as yal
lower extremities. 
Bacon's interest in self-portraits by Rembrandt and Velazquez all the work is evident both in the use of pictorial fillings and in the reinterpretation of works like the portrait of Innocent X, which in 1961 made an eerie version without But as he himself confessed, failed to overcome the original work of Velázquez. iconographic sources that Bacon was inspired to create his works could come, as has been said, the history of painting, but it was the Muybridge photo albums (with his studies on human and animal movement) and photographs stock of newspapers and magazines or film stills Eisenstein and Buñuel which was its essential file.
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