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Many of Bacon's paintings are "inhabited" by reclining figures. Single, or, as in triptychs, repeated with variations, they can be commented by symbolic indexes (like circular arrows as signs for rotation), turning painted images to blueprints for moving images of the type of contemporary GIFs.
In the past most of Bacon’s paintings have been described as ‘oil on canvas’. But he employed many other media, and was fond of mixing sand, dust, fibres and pastel, for example, with his oils. While every effort has been made to include these details, until paintings are examined (and ideally scientifically tested) with the glass removed ...
Feb 14, 2022 · Although Bacon was influenced by cinema, his work has also influenced cinematographers. The xenomorph in Ridley Scott's Alien (1979) was inspired by Bacon's Three Studies for Figures at the Base of a Crucifixion (1944) while David Lynch's films borrow from Bacon’s paintings.
Sketch [Figure in Grey Interior] Francis Bacon. c.1959–61. View by appointment.
Bacon’s nudes lying upside down on sofas, in works on paper (such as Reclining Figure No.1 and Reclining Figure No.2; Tate T07353–4) and on canvas – as in Reclining Woman 1961 (Tate T00453; fig.9) – recall the postures in several monotypes, which show prostitutes relaxing on upholstered couches (fig.8).39 Figures viewed from the back ...
The crouching nude was a theme that Bacon had explored since he painted Study for a Crouching Nude, 1952. [1] Here the crouching figure is positioned in relationship to a reclining figure.
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Although Bacon’s paintings evoke human isolation and dramatise the savage in battle with the self, Bacon does not ask us to pity his figures. His image, as Beckett puts it in his account of Yeats, is dispassionately made. The vision in Bacon is unsparing, pitiless, stark.
