Since his death in April 12 Francis Bacon has been acclaimed as one of the very greatest of modern painters. Yet most analyses of Bacon actually neutralize his work by discussing it as an existential expression and as the horrifying communication of an isolated individualâe"which simply transfers the pain in the paintings back to Bacon himself. This study is the first attempt to account for the pain of the viewer. It is also, most challengingly, an explanation of what Baconâe(tm)s art tells us about ourselves as individuals. For, during this very personal investigation, the author comes to realize that the effect of Baconâe(tm)s work is founded upon the way that each of us carves our identity, our âeoeself,âe from the inchoate evidence of our senses, using the conventions of representation as tools. It is in his warping of these conventions of the senses, rather than in the superficial distortion of his images, that Bacon most radically confronts âeoeart,âe and ourselves as individuals.

DIVThe Elizabethan sage offers wise, witty observations on truth, adversity, love, ambition, fame, and many other topics. Short but thought-provoking, these essays constitute an excellent combination of style and substance. /div

This collection contains fifty-eight essays, published at various times between 1597 and 1625, on subjects ranging among state policy, personal conduct, and the appreciation of nature. Bacon has been referred to as the founder of modern inductivism and prophet of the industrial revolution, and all forms of knowledge are subjected to the interpretation of Bacon's views on life.

Francis Bacon’s landmark writings on subjects ranging from anger and ambition, marriage and money, to envy and empire established him as the founding father of modern scientific thinking, with his rejection of superstition and his emphasis on proof and experiment, rational enquiry and reasoned argument. Writings include: • Of Revenge • Of Parents and Children • Of Envy • Of Love • Of Goodness and Goodness of Nature • Of Cunning • Of Beauty • Of Negotiating • Of Anger • And many more

Bacon published this interesting little work in 1609. It contains thirty-one fables abounding with a union of deep thought and poetic beauty. In most fables he explains the common but erroneous supposition that knowledge and the conformity of the will, knowing and acting, are convertible terms.

This authoritative edition was originally published in the acclaimed Oxford Authors series under the general editorship of Frank Kermode. It brings together an extensive collection of Bacon's writing - the major prose in full, together with sixteen other pieces not otherwise available - togive the essence of his work and thinking.Although he had a distinguished career as a lawyer and statesman, Francis Bacon's lifelong goal was to improve and extend human knowledge. In The Advancement of Learning (1605) he made a brilliant critique of the deficiencies of previous systems of thought and proposed improvements to knowledge inevery area of human life. He conceived the Essays (1597, much enlarged in 1625) as a study of the formative influences on human behaviour, psychological and social. In The New Atlantis (1626) he outlined his plan for a scientific research institute in the form of a Utopian fable. In addition tothese major English works this edition includes 'Of Tribute', an important early work here printed complete for the first time, and a revealing selection of his legal and political writings, together with his poetry.A special feature of the edition is its extensive annotation which identifies Bacon's sources and allusions, and glosses his vocabulary.

The third book in the Francis Bacon Studies series, this volume reveals fundamental insights into the artist’s character and psychology that will change existing perceptions. Very little is known about Francis Bacon’s early career, but this third installment in the Bacon estate’s groundbreaking series provides exciting new insight into and analysis of the elusive artist. Archived material recently added to the Estate of Francis Bacon’s collection—including the diaries of Bacon’s first two patrons and an extensive number of records kept by Bacon’s doctor, Paul Brass—has allowed Francesca Pipe, Sophie Pretorius, and Martin Harrison to delve deeper into the artist’s formative years than ever before and revolutionize existing perceptions of Bacon’s character and psychology. Essays by Sarah Whitfield, Joyce Townsend, and Christopher Bucklow draw on biographical details of the artist’s life and technical analysis of his work. Utilizing this more traditional, art-historical approach, these scholars examine the complex relationships between Bacon and his peers and offer new insights into the artist’s methods and the system of metaphors within his paintings. This fascinating collection of scholarship will interest anyone looking to learn more about Francis Bacon, contemporary art, or the artistic imagination.