Figure with Meat (1954) is also highly original in its ... Barbara Dawson is the director of Dublin City Gallery The Hugh Lane. Francis Bacon's studio is a permanent exhibition at the gallery ...

Professor of Critical and Cultural Theory and Head of the School of the Arts, University of Hull In our age of digitally retouched selfies, Francis Bacon ... [humans] are meat,” he once ...

In our age of digitally retouched selfies, Francis Bacon’s portraits come ... the tone for the show and reinforce one of Bacon’s key ideas – that paintings cannot preserve life. “We [humans] are meat, ...

Eyes and mouths macerated, smacked and tenderized like sides of meat. Ungenerous, unflattering images of faces smooshed as if against panes of glass. In his 1981 book, Francis Bacon: Logique de la ...

Francis Bacon (1909-1992 ... the show argues that Bacon was, in essence, "always a portraitist of sorts", a painter of the human figure, who frequently based his depictions on real people.

splendid new show Francis Bacon: Human Presence. In vital, varied ways, Bacon’s paintings mostly depict the human figure. The NPG opens with a wistful “Self-Portrait” splattered with red ...

Has the Francis Bacon cult peaked ... those dreadful pictures” is still a unique figure, who hits us on levels other artists don’t reach. Bacon on the face of it is a no-brainer for the ...

There’s a teensy issue with this exhibition of Francis Bacon ... of a screaming figure inspired by Diego Velazquez’s Pope Innocent X (1649-50). Strangely, given that Bacon “loathed ...

There’s a limit to how much you can say about Francis Bacon; to how many times you can ... on the Road to Tarascon that reduce the main figure to an angry mess of shadows. Neither of those ...

Some 20 paintings of her by Bacon exist, and one startling example from 1966 is a highlight of the new exhibition at the National Portrait Gallery, Francis Bacon: Human Presence. It depicts Moraes ...

An anthology of writings on Francis Bacon compiled by Michael Peppiatt ... it is tempting to see the tortured, standing figure as partly a self-portrait of the British artist.