Bacon, Picasso The life of images Anne Baldassari

Catàleg de l'exposició presentada al Museu Picasso, París, l'any 2005

Contents: Francis Bacon in progress, p. 12; "Work makes work", p. 18; Chapter I: Paris, 1927-28 : a journey of initiation, p. 28; Chapter II: London, 1929-1937: the phantom studios, p. 70; Chapter III: 1936-1944 : Crucifixions, p. 132; Velázquez, Picasso, Bacon: in the name of the father?, p. 208; Selected bibliography, p. 218; List of works, p. 230

"I t’s under the shock of Picasso’s exhibition at the Paul Rosenberg gallery in Paris that Francis Bacon started painting in 1927. Since then, he never stopped having multiform relationships with Picasso’s work. dialogue appeared particularly in this “brutality of fact” that linked, according to Bacon’s own words, his work to Picasso’s." show the fascination and impact of the Catalan master on the great English painter. of the artists’ work from their common big themes: crucifixion, embrace, scream or self-portraits in the study. The pictographic and iconographic procedures shared by Picasso and Bacon, mixing popular imaging and high culture, are particularly analysed, in the light, among others, of Francis Bacon’s archives about Picasso, given to the State by Barry Joule. This way, we can measure the role played by Picasso in Bacon’s “imaginary museum”. Bacon used to collect his photographical portraits and works, and sometimes submitted them to strange appropriation rituals.

Compra

R. 2008/362