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Francis Bacon - Tate Gallery Exhibition Poster - Signed - Very Rare
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Francis Bacon - Tate Gallery, London Exhibtion Poster 22nd May till 18th August 1985 - Unframed - Signed by Francis Bacon £3000 From his 'Triptych August 1972' - Published by Tate Gallery - Designed by Caroline Jonston and printed by Hillingdon Press, Middlesex. Francis Bacon – Born: 28th October, 1909 – Dublin, Ireland Died: 20th April, 1992 – Madrid, Spain Overview of Francis Bacon's Artistic Creations: Biomorphic Surrealism informed and shaped the style of Three Studies for Figures at the Base of a Crucifixion (1944), the work that announced his emergence as a major artist when it was exhibited in the final weeks of World War Two. This work established the foundation for many of the themes that were to engage his artistic vision for the rest of his career, generating his preoccupation with humanity’s capacity for self-destruction and the ever-present threat of a global nuclear war. Bacon created his unique style in the late 1940s when he transformed his earlier Surrealistic artistic vision into an approach inspired by the Old Masters, depictions of motion in film and photography, in particular the studies of figures in action produced by the early photographer, Eadweard Muybridge. During an active artistic career spanning five decades, Bacon produced some of the most iconic images of wounded and traumatised humanity in post-war art, concentrating his energies on portraiture. The subjects for his portraits were often the habitues of the bars and clubs of London’s Soho neighbourhood. They were always portrayed as violently distorted and depicted not as sociable and charismatic types but as isolated souls, imprisoned and tormented by existential thoughts and concerns. Although his success and reputation rested on his unique approach to figuration, Bacon’s attitudes to painting was distinctly traditional and Old Masters were an important source of inspiration for him, in particular, Diego Velazquez’s Portrait of Pope Innocent X, which Bacon used as the basis for his own series of ‘screaming popes’. At a time when many lost faith in painting, Bacon maintained his belief in the importance of the medium, commenting on his own work that they ‘deserve either the National Gallery or the dustbin, with nothing in between’. Background Information about the Artist Bacon was born in Dublin and was named after his famous ancestor, the English philosopher and scientist. His father, Edward, served in the army and was later employed in the War Office during World War One. His father’s position in the War Office alerted Bacon to the threat of violence at an early age. When his family returned to Dublin after the War, he came of age amidst the early campaigns of the Irish nationalist movement. Bacon had little formal education due to his severe asthma and the family’s travelling for his father’s postings. Although he had four siblings, Bacon developed a close bond with his nanny, Jessie Lightfoot, who later came to live with him in London. Family relations became increasingly tense as Bacon dealt with his emerging homosexuality. He was finally expelled from his family home in 1926, after his father caught him trying on his mother’s clothing. Surviving on a small allowance, Bacon lived the life of a vagrant, travelling around London, Berlin and Paris. His new life style gave him the freedom to explore his sexuality, particularly in Berlin. Bacon’s Emergence as an Artist In the late 1920s Bacon moved into a London apartment and became involved with interior and furniture design. One of his patrons, the Australian artist Roy de Maistre, became a mentor to Bacon and encouraged him to try his hand at painting. Bacon based his early work after Picasso and Surrealists, whose work he had seen during his stay in Paris. In 1933, Bacon exhibited Crucifixion, a skeletal black and white composition that already exuded overtones of pain and fear that would become the hallmark of his later work. He then organized an exhibition of his own in 1934 but it generated little attention. Discouraged and demoralized, Bacon returned to a drifter’s life style and only painted intermittently between 1936 and 1944. He destroyed the majority of his work from 1943 and it is reckoned that only fifteen pieces from this period have survived. Acknowledgement of Bacon as One of the Great Figurative Artists of the 20th Century – 1953 – 1992 Tate’s first retrospective in 1962, when Bacon was 53 years of age marked his recognition as one of the great figurative artists of the 20th Century. This was followed by a major exhibition in 1971 at the Grand Palais in Paris, which launched him on the global stage The second Tate retrospective in 1985, a rare accolade for a British artist, which exhibited 125 paintings further elevated his reputation, with the Director of the gallery declaring that Bacon was ‘the greatest living artist’. The 1980s marked Bacon’s widespread return to painting and it was a highly productive period for him. The third Tate retrospective in 2008 was a spectacular success and attracted hundreds of thousands of visitors. Bacon was a prolific artist and served as his own hardest task master and harshest of critics. Despite his bleak existentialist outlook, articulated strikingly in his remarkably insightful interviews with David Sylvester, Bacon was in reality was a bon vivant and openly and unapologetically gay. In his middle age, Bacon spent many evenings eating and drinking in London’s Soho, most notably in Muriel Belcher’s private drinking club, The Colony Room at 41 Dean Street with such friends such as Lucien Freud, John Deakin, Henrietta Moraes, Daniel Farson and Jeffrey Bernard and he gambled on horses and in casinos like Charlie Chester’s. After his lover, John Dyer’s suicide Bacon distanced himself from The Colony Room Circle but his social life was still active and his gambling remained unabated. In the late 1990s, a number of major works previously assumed to have been destroyed by the artist, including his paintings of the Popes from the early 1950s and portraits from the 1960s, surfaced on the art market and set record prices at auctions. On 12th November 2013 Bacon’s painting entitled ‘The Studies of Lucian Freud’ set the record as the most expensive piece of art ever auctioned, selling for $142,405,000. Legacy Unique interpretations he infused into his iconic creations and the intensely personal nature of his work make it difficult to trace his influence in contemporary art. However, his paintings are regarded as having inspired some of the leading artists of our generation, including Julian Schnabel and Damien Hirst.
Marlborough Antiques & Interiors has clarified that the Francis Bacon - Tate Gallery Exhibition Poster - Signed - Very Rare (LA75081) is genuinely of the period declared with the date/period of manufacture being 1985
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This Francis Bacon - Tate Gallery Exhibition Poster - Signed - Very Rare is located in Marlborough, United Kingdom