Francis Bacon, acknowledged as one of the most important painters of the figure in the second half of the twentieth century, was tenacious in keeping his working drawings secret. When asked, he simply denied making any - adding on one occasion: 'I often think I should.' More than forty such works on paper by Bacon, together with related archival papers, are now in the Tate Gallery collection. This catalogue, published to accompany their display, provides the first detailed examination of this unknown aspect of his output. Reasons for the artist's secrecy are suggested in David Sylvester's introductory essay. The sketches themselves are then discussed in depth by Matthew Gale, who considers their place in Bacon's output and traces their relationships with sources and completed paintings.
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A catalogue designed to accompany a display of over 40 of Francis Bacon's working drawings mounted at the Tate Gallery in Spring 1999. The show provides the first detailed examination of a hitherto unknown aspect of Bacon's work, together with revealing archival material.
Francis Bacon (1909-1992) is widely regarded as the most important painter of the figure in the second half of the 20th century. Bacon is inimitable in his style, and his fatalistic dedication to his work remains enormously influential today. His paintings invariably show contorted figures in strenuous activities. The paint was applied lusciously with brush, rag, and hand to evoke the sensuality of the flesh, but the intensity of the figures came to be interpreted as revealing the psychological upheavals of the subjects in the post-war era of "extreme situations."
As controversy bred an international reputation over a 50-year career, Bacon became one of the most critically discussed artists of his generation. Despite this scrutiny, he managed to keep his working drawings almost completely secret by simply denying that he made them.
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