Permeated by anguished visions of humanity, Francis Bacon'southward paintings embody the existential ethos of the postwar era. In his powerful, nihilistic works, tormented and deformed figures become players in dark, unresolved dramas. Salary frequently referred in his paintings to the history of art, interpreting borrowed images through his own bleak mentality. Figure with Meat is part of a at present-famous series he devoted to Diego Velázquez's Portrait of Pope Innocent Ten (c. 1650; Galleria Doria-Pamphilj, Rome). Here he transformed the Spanish Bizarre artist's iconic portrayal of papal authority into a nightmarish paradigm, in which the blurred effigy of the pope, seen every bit if through a veil, seems trapped in a glass-box torture chamber, his mouth open in a silent scream. Instead of the noble drapery that frames Velázquez's pope, Bacon is flanked past two sides of beefiness, quoting the piece of work of seventeenth-century Dutch artist Rembrandt van Rijn and twentieth-century Russian artist Chaim Soutine, both of whom painted brutal and haunting images of raw meat. Framed by the carcass, Salary's pope can exist seen alternately as a depraved butcher, or as much a victim as the slaughtered beast hanging behind him.
Condition
On View, Gallery 399
Department
Contemporary Art
Artist
Francis Bacon
Title
Effigy with Meat
Identify
England (Object made in)
Engagement
1954
Medium
Oil on canvas
Inscriptions
No known inscriptions
Dimensions
129.ix × 121.ix cm (51 1/8 × 48 in.), without frame
"Exhibitions," "Architectural Review" 117, 700 (April 1955), pp. 270–71 (ill.).
"Paintings in the Art Institute of Chicago" (Art Plant of Chicago, 1961), p. 17, as "Caput Surrounded by Sides of Beef."
John Rothenstein, "British Art Since 1900: An Anthology" (Phaidon, 1962), pl. 133 (color ill.), as "Head Surrounded by Sides of Beef."
Jane Harrison, "Dissent on Francis Bacon," "Arts" 38, 3 (Dec 1963), p. 23 (color ill.), every bit "Head Surrounded by Sides of Beefiness (Report After Velázquez)."
Ronald Alley, "Francis Bacon: Catalogue Raisonné" (Thames and Hudson, 1964), cat. 90 (ill.).
John Russell, "Francis Bacon," "Aujourd'hui" 9, fifty (July 1965), p. 65 (color ill.), as "Head Surrounded by Sides of Beef (Study Later on Velázquez).
"Instituto de Arte de Chicago," El mundo de los museos (Madrid: Editorial Codex, 1967), pp. 16 (ill.), 81 (colour ill.).
H. H. Arnason, "History of Mod Art: Painting, Sculpture, Architecture" (Harry N. Abrams, 1968), p. 532, pl. 223 (color ill.), as "Head Surrounded past Sides of Beef (Report After Velázquez)"; second ed. (1977), p. 559, pl. 229 (color ill.), as "Head Surrounded by Sides of Beef (Report After Velázquez)"; 3rd ed. (1986), p. 435, pl. 208 (color ill.), as "Head Surrounded by Sides of Beef (Study After Velázquez)."
Michael Greenwood, "Marker Prent," "Artscanada" 29, 2 (Bound 1972), p. 40 (ill.), as "Caput Surrounded past Sides of Beef."
David W. Boxer, "The Early on Work of Francis Bacon" (Ph.D. diss., Johns Hopkins University, 1975), pp. 81, 117, fig. 60 (sick.).
Lorenza Trucchi, "Francis Bacon," trans. John Shepley (Harry N. Abrams, 1975), p. xiv, as "Figure with Meat, 1960,"cat. 41 (ill.).
Hugh M. Davies, "Francis Bacon: The Early and Center Years, 1928–1958," Outstanding Dissertations in the Fine Arts (Garland Publishing, 1978), p. 116.
Wieland Schmied, "Francis Salary: Vier Studien zu einem Porträt" (Berlin: Frölich und Kaufmann, 1985), p. 65, pl. 143 (ill.), fig. 96 (ill.); rev. and trans. ed., "Francis Bacon: Commitment and Conflict" (Prestel, 1996), p. 79, pl. 13 (colour ill.), fig. 83 (ill.).
James Northward. Wood and Katharine C. Lee, "Master Paintings in the Art Institute of Chicago" (Art Institute of Chicago/New York Graphic Guild Books and Little, Brown and Company, 1988), p. 150 (color ill.), equally "Head Surrounded past Sides of Beef"; 2nd ed., James Northward. Wood (Art Establish of Chicago/Hudson Hills Press, 1999), p. 151 (color ill.).
Ernst van Alphen, "Francis Bacon and the Loss of Self" (Reaktion Books, 1992), p. 102, fig. 56 (ill.).
Rudy Chiappini, ed., "Francis Bacon," exh. true cat. (Lugano: Museo d'Arte Moderna/Electa, 1993), p. 62.
Frederick Hartt, "Art: A History of Painting, Sculpture, Architecture," fourth ed. (Harry N. Abrams, 1993), p. 1017, fig. 38-15 (color ill.), as "Caput Surrounded by Sides of Beef."
James Northward. Wood, "Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago (Abbeville Press, 1993), p. 251 (color ill.), as "Caput Surrounded past Sides of Beefiness."
H. W. Janson, "History of Art," fifth ed. (Harry Due north. Abrams, 1995), pp. 799, 813, fig. 1099 (colour sick.), equally "Caput Surrounded by Sides of Beef"; H. Due west. Janson and Anthony F. Janson, 5th ed. rev. (1997), pp. 825, 840, fig. 1084 (color sick.), as "Head Surrounded by Sides of Beef"; sixth ed. (2001), pp. 816, 833, fig. 24-64 (color ill.), equally "Head Surrounded by Sides of Beefiness."
Michael Peppiatt, "Francis Bacon: Anatomy of an Enigma" (Weidenfeld and Nicolson, 1996), p. 163.
David Sylvester et al., "Francis Bacon," exh. cat. (Munich: Haus der Kunst, 1996), p. 35 (ill.).
James North. Woods and Teri J. Edelstein, "The Art Constitute of Chicago: Twentieth-Century Painting and Sculpture" (Hudson Hills Press, 1996), p. 106 (colour sick.).
"Francis Bacon," exh. cat. (Humlebaek, Denmark: Louisiana Museum for Moderne Kunst, 1997), p. 41 (color ill.).
Luigi Ficacci, "Francis Bacon, 1909–1992" (Taschen, 2003), p. 27 (colour ill).
Michael Peppiatt, "Francis Bacon: le sacré et le profane," exh. cat. (Paris: Fondation Dina Vierny-Musée Maillol, 2004), pp. ii, 29 (ill.).
Wilfried Seipel, Barbara Steffen, and Christoph Vitali, Francis Bacon and the Tradition of Art, exh. true cat. (Fondation Beyeler, 2004), pp. 67, 311, cat. 136 (color ill.).
Margarita Cappock, "Francis Salary'due south Studio" (Merrell, 2005), p. 191, fig. 333 (color ill.).
Martin Harrison, "In Photographic camera, Francis Bacon: Photography, Picture show and the Exercise of Painting" (Thames and Hudson, 2005), pp. 126, 160–61, fig. 177 (color sick.).
Armin Zweite, Maria Müller, and Peter Bürger, Francis Bacon: The Violence of the Real, exh. true cat. (
Elena Crippa and Catherine Lampert, London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj, exh. cat. (J. Paul Getty Museum/Tate, 2016), pp. 21; 35 (color ill.); 130.
Elena Crippa and Catherine Lampert, London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj, exh. cat. (Tate Publishing, 2016), pp. 21; 35 (color ill.); 130.
London, Plant of Contemporary Arts, Francis Bacon, January. 19–February. nineteen, 1955, organized by Peter Watson, exh. pamphlet, cat. 13, every bit "Study Afterward Velázquez."
Arts Club of Chicago, Surrealism Then and Now, Oct. i–30, 1958, cat. i, as "Head Surrounded past Sides of Beefiness."
London, Tate Gallery, Francis Salary, May 24–July one, 1962, cat. 42, every bit "Study Later Velázquez."
New York, Solomon R. Guggenheim Museum, Francis Bacon, Oct. eighteen, 1963–Jan. 12, 1964, cat. 27, as Caput Surrounded by Sides of Beef (Study After Velázquez); Art Institute of Chicago, Jan. 24–Feb. 23, 1964,
Montreal, Expo 67, Homo and His Earth, International Fine Arts Exhibition, Apr. 28–Oct. 27, 1967, cat. 123, every bit Effigy with Meat (Caput Surrounded by Sides of Beefiness).
Des Moines Art Center, Art in Western Europe: The Postwar Years, 1945–1955, Sept. 19–Oct. 29, 1978, cat. four, as Head Surrounded past Sides of Beefiness (Study After Velázquez).
Vienna, Kunsthistorisches Museum, Francis Bacon and the Tradition of Art, Oct. xv, 2003–Jan.xviii, 2004, true cat. 136; Basel, Fondation Beyeler, Feb. 8–June 27, 2004 (Basel only).
Dusseldorf, K20 Kunstsammlung Nordrhein-Westfalen, Francis Bacon: The Violence of the Real, Sept. 16, 2006–Jan. 7, 2007, cat. 13.
Norwich, England, Sainsbury Center for Visual Arts, Francis Salary: Paintings from the 1950s, Sept. 26–December. ten, 2006; Milwaukee Art Museum, Jan. 29–Apr. xv, 2007, Buffalo, Albright-Knox Art Gallery, May v–July 30, 2007 (Milwaukee and Buffalo only).
Sydney, Art Gallery of New South Wales, Francis Bacon: Five Decades, Nov. 17, 2012–February. 24, 2013.
Los Angeles, J. Paul Getty Museum at the Getty Eye, London Calling: Bacon, Freud, Kossoff, Andrews, Auerbach, and Kitaj, July 26–Nov. 13, 2016, no cat. no.
Lucien Freud, London, by 1955; sold through Hanover Gallery, London, to the Art Institute, 1956.
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