Francis Bacon: Triumph and Tragedy (Part 3)
5/17/202653 min
Following the death of his lover, did Bacon paint one of the darkest paintings in the history 20th century art? And why is opinion so split on Bacon's late work? Join Alastair and James as they argue it out in the last episode on the life and work of one of art history's most colourful characters - Francis Bacon. Artworks in this episode include: Micheal Andrews, The Colony Room I, 1962, Pallant House Gallery, Chichester Francis Bacon, Portrait of Lucian Freud, 1951, Whitworth Art Gallery, Manchester Francis Bacon, Henrietta Moraes, 1966, Private Collection Francis Bacon, Version No. 2 of Lying Figure with Hypodermic Syringe, 1968, Private Collection Francis Bacon, Miss Muriel Belcher, 1959, Private Collection Francis Bacon, Triptych, May–June 1973, 1973, Private Collection Francis Bacon, Study of the Human Body, 1981-82, Musée national d'Art Moderne, Centre Pompidou, Paris Francis Bacon, Second Version of Triptych 1944, 1988, Tate Gallery, London Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, 1944, Tate Gallery, London Francis Bacon, Blood on the Floor - Painting, 1986, Private Collection Francis Bacon, Three Studies for Self-Portrait, 1983, Honolulu Academy of Arts, Honolulu For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Alastair Sooke and Dr James Fox Additional Research: Catherine Ingram Producer and Editor: Ben Harding Executive Producer: Emma Cahusac
Clips
Transcript preview
First 90 secondsAlastair Sooke· Host0:00
[gentle music] Welcome to Stories of Art. I'm Alastair Sook.
James Fox· Host0:04
And I'm James Fox.
Alastair Sooke· Host0:05
We're in a bar, a dim, crowded space with dark green walls, color of broccoli, James. You can almost hear the din as leaning against those walls, lounging on stools, the regulars banter and chat. Some look quizzical. One or two appear combative, as if, who knows what time it is, they're already sozzled. The air is thick, seemingly with gossip, accusations, indiscretions. And in the foreground of this scene for, surprise, surprise, James, I am describing a picture, a painting. It's loosely painted, as if to suggest the very state of intoxication. There's a figure with his back to us who's dressed in a black blouson jacket, a flash of hot pink, maybe a shirt collar escaping at the neck, sitting on a gilt chair by the bar, resting his right elbow on the counter. And he seems very comfortable, very relaxed. If he isn't the proprietor, then surely he's some sort of master of ceremonies. He's holding court. And we can't see his face. But that enormous, spherical, pudding-shaped head, as big as a bowling ball, is unmistakable. He's Francis Bacon. So, slightly controversially, James, I thought we could begin this third and final part of our miniseries about Francis Bacon by describing a painting by another artist altogether, uh, Michael Andrews, notoriously shy artist, but an artist who was part of the same so-called School of London circle.