This is a photographic portrait of painter Francis Bacon's south London studio in the days following his death. A visual statement of Bacon's frenetic life and work. 60 photos.

"Profusely illustrated with unique material that has never previously been published, Francis Bacon's Studio makes an important contribution to Bacon studies, especially in relation to the last three decades of the artist's career. Drawing on artefacts that resonate with the energy of Bacon's work, this book offers unprecedented insights into the sources, inspiration and working methods of one of the giants of modern art."--BOOK JACKET.

THE TIMES ART BOOK OF THE YEAR Named one of The Irish Times' Books of the Year for 2021 A compelling and comprehensive look at the life and art of Francis Bacon, one of the iconic painters of the twentieth century—from the Pulitzer Prize-winning authors of de Kooning: An American Master. This intimate study of the singularly private, darkly funny, eruptive man and his extraordinary art “is bejeweled with sensuous detail … the iconoclastic charm of the artist keeps the pages turning” (The Washington Post). “A definitive life of Francis Bacon ... Stevens and Swan are vivid scene setters ... Francis Bacon does justice to the contradictions of both the man and the art.” —The Boston Globe Francis Bacon created an indelible image of mankind in modern times, and played an outsized role in both twentieth century art and life—from his public emergence with his legendary Triptych 1944 (its images "so unrelievedly awful" that people fled the gallery), to his death in Madrid in 1992. Bacon was a witty free spirit and unabashed homosexual at a time when many others remained closeted, and his exploits were as unforgettable as his images. He moved among the worlds of London's Soho and East End, the literary salons of London and Paris, and the homosexual life of Tangier. Through hundreds of interviews, and extensive new research, the authors probe Bacon's childhood in Ireland (he earned his father's lasting disdain because his asthma prevented him from hunting); his increasingly open homosexuality; his early design career—never before explored in detail; the formation of his vision; his early failure as an artist; his uneasy relationship with American abstract art; and his improbable late emergence onto the international stage as one of the great visionaries of the twentieth century. In all, Francis Bacon: Revelations gives us a more complete and nuanced--and more international--portrait than ever before of this singularly private, darkly funny, eruptive man and his equally eruptive, extraordinary art. Bacon was not just an influential artist, he helped remake the twentieth-century figure.

In June of 1963, when Michael Peppiatt first met Francis Bacon, the former was a college boy at Cambridge, the latter already a famous painter, more than thirty years his senior. And yet, Peppiatt was welcomed into the volatile artist's world; Bacon, considered by many to be “mad, bad, and dangerous to know,” proved himself a devoted friend and father figure, even amidst the drinking and gambling. Though Peppiatt would later write perhaps the definitive biography of Bacon, his sharply drawn memoir has a different vigor, revealing the artist at his most intimate and indiscreet, and his London and Paris milieus in all their seediness and splendor. Bacon is felt with immediacy, as Peppiatt draws from contemporary diaries and records of their time together, giving us the story of a friendship, and a new perspective on an artist of enduring fascination.

"In 1949 Francis Bacon found his subject - the human body - and from then on it remained his principal theme. But he did not paint from life. Instead he appropriated images from the mass media that he manipulated into his 'studies'. His paintings bore witness to the shattered psychology of the time and shot him to a prominence that hardly diminished over the next fifty years, and that continues to rise." "This book presents many of the 'working documents' about which Bacon was entirely secretive but which, it emerges, were integral to his creative process. Culled from thousands of pieces of original material found in his studio, including newspapers, magazines, books and photographs, these items have each been exhaustively and minutely researched, providing for the first time comprehensive details of the artist's sources. This base material - folded, torn, clipped and spattered with paint - underwent an alchemical transformation frond mundane matter into new images." "Nearly all previously unseen, these visually thrilling documents demonstrate Bacon's tactile, visceral relationship with his sources, and his unerring eye for seeking out visual stimulation in the most unexpected places. His paintings emerged from a dialogue between great art of the past and photographic imagery of the present: and, as a painter of the transient, his work also shared the pulse and flicker of his other significant inspiration, early cinema. His fascination with medium itself - the texture of paint, the quality of newsprint, the techniques of mechanical reproduction of both the still and moving image - throws light on the nature of Bacon's points of contact with the twentieth century."--BOOK JACKET.

Madrid. Unfinished. Man dying. A great painter lies on his deathbed, synapses firing, writhing and reveling in pleasure and pain as a lifetime of chaotic and grotesque sense memories wash over and envelop him. In this bold and brilliant short work of experimental fiction by the author of Grief Is the Thing with Feathers and Lanny, Max Porter inhabits Francis Bacon in his final moments, translating into seven extraordinary written pictures the explosive final workings of the artist's mind. Writing as painting rather than about painting, Porter lets the images he conjures speak for themselves as they take their revenge on the subject who wielded them in life. The result is more than a biography: The Death of Francis Bacon is a physical, emotional, historical, sexual, and political bombardment--the measure of a man creative and compromised, erotic and masochistic, inexplicable and inspired.

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.

Francis Bacon was one of the most powerful and enigmatic creative geniuses of the twentieth century. Immediately recognizable, his paintings continue to challenge interpretations and provoke controversy. Bacon was also an extraordinary personality. Generous but cruel, forthright yet manipulative, ebullient but in despair: He was the sum of his contradictions. This life, lived at extremes, was filled with achievement and triumph, misfortune and personal tragedy. In his revised and updated edition of an already brilliant biography, Michael Peppiatt has drawn on fresh material that has become available in the sixteen years since the artist’s death. Most important, he includes confidential material given to him by Bacon but omitted from the first edition. Francis Bacon derives from the hundreds of occasions Bacon and Peppiatt sat conversing, often late into the night, over many years, and particularly when Bacon was working in Paris. We are also given insight into Bacon’s intimate relationships, his artistic convictions and views on life, as well as his often acerbic comments on his contemporaries.

Francis Bacon is considered one of the most important painters of the 20th century. A major exhibition of his paintings at the Royal Academy of Arts in 2020 explores the role of animals in his work - not least the human animal. Having often painted dogs and horses, in 1969 Bacon first depicted bullfights. In this powerful series of works, the interaction between man and beast is dangerous and cruel, but also disturbingly intimate. Both are contorted in their anguished struggle and the erotic lurks not far away: "Bullfighting is like boxing," Bacon once said. "A marvellous aperitif to sex." 0Twenty-two years later, a lone bull was to be the subject of his final painting. In this fascinating publication - a significant addition to the literature on Bacon - expert authors discuss Bacon's approach to animals and identify his varied sources of inspiration, which included surrealist literature and the photographs of Eadweard Muybridge. They contend that, by depicting animals in states of vulnerability, anger and unease, Bacon sought to delve into the human condition.00Exhibition: Royal Academy of Arts, London, UK (22.01-12.04.2021).

With a nod to the chemically-induced contentment of Huxley's Brave New World,"American Soma" explains how a friction-filled democratic system is lubricated by partisan politicians and commercial interests."Evolution", written during the Dover Area School District's Intelligent Design Trials, describes the adaptations caused by mankind's heavy reliance on synthetic hormones and toxic polymers.Twenty other fables and letters explore alternate histories, the colonial nature of late capitalism, pained yet comic souls, the obsessions of lucid maniacs, and an imagined advance towards the Apocalypse. Concerned and politically aware, Guz examines the lurking evils of contemporary society and the darker corners of human nature.