‎BARRE André‎
‎Bacon‎

‎Francis Bacon Catalogue RaisonnÃ. 5 Vols‎

‎Harrison, Martin: Francis Bacon Catalogue RaisonnÃ. 5 Vols. London: 2016. 1,584 pages, with over 900 colour illustrations. Hardback in a slipcase. 31 x 24.5cms. Presents the artist's entire oeuvre for the first time - in colour. Surmounts the 1964 Rothenstein and Alley catalogue raisonnà which documented just 37% of the artist's work up until 1992. Contains over 900 illustrations across five, cloth-bound hardcover volumes, and includes an extensive introduction, chronology, index, user's guide, catalogue of the artist's sketches and illustrated bibliography. This 10 year project will be published on the 28th April to coincide with the 24th anniversary of the artist's death, and will present 584 paintings, including over 100 previously unknown works.‎

‎Presents the artist's entire oeuvre for the first time - in colour. Surmounts the 1964 Rothenstein and Alley catalogue raisonnà which documented just 37% of the artist's work up until 1992. Contains over 900 illustrations across five, cloth-bound hardcover volumes, and includes an extensive introduction, chronology, index, user's guide, catalogue of the artist's sketches and illustrated bibliography. This 10 year project will be published on the 28th April to coincide with the 24th anniversary of the artist's death, and will present 584 paintings, including over 100 previously unknown works‎

‎Francis Bacon recent paintings‎

‎Francis Bacon recent paintings. Exhibition: London, Marlborough Fine Art, 1965. 20 pages, mostly illustrated in colour with some black and white images. Wrappers. 23 x 21cms.‎

‎Francis Bacon. Seated Figure, 1960‎

‎Francis Bacon. Seated Figure, 1960. Christie's, 2014. 103 pages, fully illustrated in colour. Paperback. 26 x 21cms.‎

‎Bacon Moore. Flesh and Bone.‎

‎, Antique Collectors' Club, Size: 280 mm x 220 mm. Pages: 160. Illustrations: 140 colour. Hardback. New. ISBN 9781851497478.‎

‎In their different mediums, Henry Moore (1898-1986) and Francis Bacon (1909-1992) created unforgettable images of the human figure. The distinctive visual languages that each artist developed over more than half a century were marked by a growing simplicity and monumentality of form. Their perspective differed: Moore clung to a belief in humanism, while Bacon espoused a post-humanist, nihilistic view of the world. In expressing their visions of humanity, the two artists had very different approaches: Bacon working from the outside in, disintegrating and dissolving form; Moore from the inside out, pushing anatomical structure to the surface. If Bacon's images suggest flux, chance, and the arbitrariness of existence, Moore's sculptures have been interpreted as universal symbols of strength and endurance.Bacon and Moore first exhibited together in a group exhibition at the Lefevre Gallery in London in which Bacon showed his Three Studies for Figures, at the Base of a Crucifixion (1944), propelling him into the limelight for the first time. Moore showed two sculptures from the1930s and fourteen wartime drawings, some of which anticipate the theme (though not the savage imagery) of Bacon's triptych.Exhibiting together in a commercial gallery was repeated twice in the 1960s, when Moore and Bacon were both represented by Marlborough Fine Art. These joint shows, extensively reviewed in the press, gave critics a chance to compare the artists' radical approaches to the human figure, which were seen as complementary rather than conflicting. Fifty years later, this publication once again brings their work into direct comparison.‎

‎FRANCIS BACON Mens en Beest‎

‎, Mercator/ Mercatorfonds , 2021 HB, 300 x 250 mm, 196 pages, 180 colour illustrations, Nederlandstalige uitgave ISBN 9789462302754.‎

‎Dit boek focust op de rol van dieren in het werk van Francis Bacon (1909-1992). Bacon schilderde vaak honden en paarden, en in 1969 voor het eerst een stierengevecht, een interactie tussen mens en dier die gevaarlijk en wreed is, maar ook verontrustend intiem. In deze publicatie identificeren deskundige auteurs Bacons inspiratiebronnen en bespreken ze zijn benadering van dieren in het onderzoek dat hij voerde naar de condition humaine. Tentoonstelling: Royal Academy, London: Jan- April 2021 Explore Francis Bacon's visceral paintings, where the line between human and animal is constantly blurred, reminding us that our primal instincts lie just below the surface. Irish-born artist Francis Bacon was the horse-breeder's son who became one of the most important painters of the 20th century. An openly gay man at a time when homosexuality was illegal, he was banished from his conservative family home by his father at 16. After that, he drifted through Berlin and Paris before establishing himself in London, with his formative years running parallel with some of the 20th century's most profoundly disturbing events. This powerful exhibition will focus on Bacon's unerring fascination with animals: how it both shaped his approach to the human body and distorted it; how, caught at the most extreme moments of existence, his figures are barely recognisable as either human or beast. It also explores how Bacon was mesmerised by animal movement, observing animals in the wild during trips to South Africa; filling his studio with wildlife books, and constantly referring to Eadweard Muybridge's 19th-century photographs of humans and animals in motion. Whether baboons or bulls, dogs or birds of prey, Bacon felt he could get closer to understanding the true nature of humankind by watching the uninhibited behaviour of animals. Spanning Bacon's 50-year career, highlights include some of Bacon's earliest works and his last-ever painting, alongside a trio of bullfight paintings which will be exhibited together for the first time. Seen together, these raw expressions of anxiety and instinct - both animal and human - feel poignantly relevant today. Exposition au Royal Academy, Londres, 22 janvier - 12 avril 2021‎