Book by Peppiatt Michael
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Francis Bacon has long been recognized as one of the most original of all modern artists; his canvases of screaming popes and dismembered human figures are defining images of twentieth-century anguish. Bacon was also a legend in the London demimonde, a man who followed long nights of drinking, gambling, and sexual adventure with intense early morning encounters with the blank canvas. When Michael Peppiatt first met him in 1963, Bacon, then in his early fifties, was at the height of his powers. Over the next thirty years, Peppiatt became a close friend of Bacons and one of his most perceptive critics, and he has produced a fascinating, disturbing portrait of this agonized modern artist. Bacon (190992) was raised in large country houses in rural Ireland by a family whose conventional expectations he rebelled against early on. As a young man he was introduced to the seamy side of life in London and Paris; but only after seeing a Picasso retrospective in 1928 did he become an artist. He sprang into prominence in 1944 with a triptych which shocked the art world with its sheer ferocity, and he soon emerged, with his friend Lucian Freud, as a leader of an informal School of London, which favored figurative painting in an age dominated by abstraction. As retrospectives of Bacons work in Paris, London, and New York made his reputation soar, his nighttime exploits grew wilder and wilder; charming and confident, with a strong sadomasochistic streak, he was drawn to rough trade in London clubs and pushed all situations to the edge. At the same time, he was a deeply cultivated and thoughtful artist who was obsessively guarded about the sources of his inspiration. Peppiatt has unlocked many of the enigmas of Bacons life and work. Bacon talked openly to Peppiatt about his early life, his sexuality, his fantasies, and his ambitions, aware that all was being recorded for publication. At the suggestion that some of his remarks would sound indiscreet, Bacon replied: The more indiscreet, the more interesting it will be. Together with many new facts, unpublished documents, and penetrating analyses of key paintings, these conversations have been integrated into what is the most complete and riveting account of one of the greatest artists of our time.
Michael Peppiatt has served as literary editor for Le Monde and arts correspondent for The New York Times and the Financial Times. He has written extensively on modern and contemporary art and has been a curator for several exhibitions. In 1985 he became editor and publisher of Art International. He is married to the art historian Jill Lloyd and divides his time between Paris and London.
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Paperback. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.25. Bestandsnummer des Verkäufers G0813335205I3N10
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Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less 1.25. Bestandsnummer des Verkäufers G0813335205I5N00
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paperback. Zustand: Good. Edges worn and some discoloration. Pages clean. A very good reading copy. Bestandsnummer des Verkäufers 092004
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xviii, 366p., b/w illus., stiff wrappers. Bestandsnummer des Verkäufers 033946
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Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:9780813335209. Bestandsnummer des Verkäufers 9881258
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Softcover. Zustand: Very Good. Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. No notes or highlighting although there are some written references on inside back page. See images. Fantastic book. About the book >.>.> I first met Francis Bacon in the summer of 1963 when I interviewed him for a special issue on Modern Art in Britain for a student magazine I was editing called Cambridge Opinion. Several other artists who particularly interested me, such as Frank Auerbach, Lucian Freud and R. B. Kitaj, also featured prominently in the issue; none of us was aware of it then, but this turned out to be the first time that the views of a group of artists later called the School of London were brought together. Francis was by far the best known, having just had his first retrospective exhibition at the Tate Gallery. I had heard that the easiest way to meet him was simply to wait in the French pub in Soho until he came in. I did just that, standing there for a long time before I found the courage to ask a small man sitting serenely on a bar stool whether he knew Bacon. Bestandsnummer des Verkäufers Batch-FM244-VG-6411
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