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© Copyright : Photographie by Archibald Ferguson V-R
- Reproductions & Impressions Interdites.
- Tous Droits Réservés.
© Copyright : Photographie by Archibald Ferguson V-R
- Reproductions & Impressions Interdites.
- Tous Droits Réservés.
c. 2013
Asahi Pentax
Moray Scotland on a burnt area ( with Scots pine)
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Gown: Just Because Cecilia Gown
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Jewelry: Lazuri Meadow Jewelry Set
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MÚSICO JURA MONTENEGRO PINTURAS Viva a vida ! #juradecanoa #jurapintatelasemurais #jurafestaseeventos #canoaquebradahistoria #JURAMPBSHOW
Oil on canvas
The disturbing nature of some of Bacon's portraits of Dyer allude to the deterioration of their relationship. In this portrait Dyer's face is missing, as though severed from his head, but appears in a mirror where it is, again, split into two. While based on John Deakin's photographs of Dyer in Bacon's studio, the artist also drew on an obscure self-help book My System, 15 Minutes Work a Day for Health's Sake by J.P. Müller (1905).*
Taken from the exhibition
Francis Bacon: Human Presence
(October 2024 — January 2025)
Featuring more than 50 works from the 1940s onwards, this exhibition explores Francis Bacon’s deep connection to portraiture and how he challenged traditional definitions of the genre.
From his responses to portraiture by earlier artists, to large-scale paintings memorialising lost lovers, works from private and public collections will showcase Bacon’s life story. Accompanied by the artist’s self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and lovers Peter Lacy and George Dyer.
Regarded as one of the greatest painters of the 20th century, Francis Bacon came to prominence as an artist in the wake of the Second World War.
At a time when many younger artists were rejecting portraiture and figurative painting in favour of abstraction, Bacon was committed to depicting the human figure. He recalled and subverted age-old conventions of portraiture in bold and disquieting ways, making portraits with a visceral impact that could, in his words, 'give over all the pulsations of a person.'
The exhibition charts the development of portraiture through Bacon's career: from the series of 'screaming figures in the late 1940s and his obsession with Diego Velázquez's 17th-century masterpiece, Portrait of Pope Innocent X, through to the paintings he made of his closest friends, including lovers Peter Lacy and George Dyer and fellow artists Lucian Freud and Isabel Rawsthorne, whose appearance and personalities inspired Bacon for several decades.
All works are by Francis Bacon unless stated otherwise.
[*National Portrait Gallery]
Taken in the National Portrait Gallery
Oil on canvas
The disturbing nature of some of Bacon's portraits of Dyer allude to the deterioration of their relationship. In this portrait Dyer's face is missing, as though severed from his head, but appears in a mirror where it is, again, split into two. While based on John Deakin's photographs of Dyer in Bacon's studio, the artist also drew on an obscure self-help book My System, 15 Minutes Work a Day for Health's Sake by J.P. Müller (1905).*
Taken from the exhibition
Francis Bacon: Human Presence
(October 2024 — January 2025)
Featuring more than 50 works from the 1940s onwards, this exhibition explores Francis Bacon’s deep connection to portraiture and how he challenged traditional definitions of the genre.
From his responses to portraiture by earlier artists, to large-scale paintings memorialising lost lovers, works from private and public collections will showcase Bacon’s life story. Accompanied by the artist’s self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and lovers Peter Lacy and George Dyer.
Regarded as one of the greatest painters of the 20th century, Francis Bacon came to prominence as an artist in the wake of the Second World War.
At a time when many younger artists were rejecting portraiture and figurative painting in favour of abstraction, Bacon was committed to depicting the human figure. He recalled and subverted age-old conventions of portraiture in bold and disquieting ways, making portraits with a visceral impact that could, in his words, 'give over all the pulsations of a person.'
The exhibition charts the development of portraiture through Bacon's career: from the series of 'screaming figures in the late 1940s and his obsession with Diego Velázquez's 17th-century masterpiece, Portrait of Pope Innocent X, through to the paintings he made of his closest friends, including lovers Peter Lacy and George Dyer and fellow artists Lucian Freud and Isabel Rawsthorne, whose appearance and personalities inspired Bacon for several decades.
All works are by Francis Bacon unless stated otherwise.
[*National Portrait Gallery]
Taken in the National Portrait Gallery
February 23, 2026 - Room 2606 at Bizotel Premier Hotel located at 104/40 Rang Nam Alley, Ratchathewi District, Bangkok, Thailand
Portrait of George Dyer in a Mirror, 1968
Oil on canvas
The disturbing nature of some of Bacon's portraits of Dyer allude to the deterioration of their relationship. In this portrait Dyer's face is missing, as though severed from his head, but appears in a mirror where it is, again, split into two. While based on John Deakin's photographs of Dyer in Bacon's studio, the artist also drew on an obscure self-help book My System, 15 Minutes Work a Day for Health's Sake by J.P. Müller (1905).*
Taken from the exhibition
Francis Bacon: Human Presence
(October 2024 — January 2025)
Featuring more than 50 works from the 1940s onwards, this exhibition explores Francis Bacon’s deep connection to portraiture and how he challenged traditional definitions of the genre.
From his responses to portraiture by earlier artists, to large-scale paintings memorialising lost lovers, works from private and public collections will showcase Bacon’s life story. Accompanied by the artist’s self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and lovers Peter Lacy and George Dyer.
Regarded as one of the greatest painters of the 20th century, Francis Bacon came to prominence as an artist in the wake of the Second World War.
At a time when many younger artists were rejecting portraiture and figurative painting in favour of abstraction, Bacon was committed to depicting the human figure. He recalled and subverted age-old conventions of portraiture in bold and disquieting ways, making portraits with a visceral impact that could, in his words, 'give over all the pulsations of a person.'
The exhibition charts the development of portraiture through Bacon's career: from the series of 'screaming figures in the late 1940s and his obsession with Diego Velázquez's 17th-century masterpiece, Portrait of Pope Innocent X, through to the paintings he made of his closest friends, including lovers Peter Lacy and George Dyer and fellow artists Lucian Freud and Isabel Rawsthorne, whose appearance and personalities inspired Bacon for several decades.
All works are by Francis Bacon unless stated otherwise.
[*National Portrait Gallery]
Taken in the National Portrait Gallery
Oil on canvas
The disturbing nature of some of Bacon's portraits of Dyer allude to the deterioration of their relationship. In this portrait Dyer's face is missing, as though severed from his head, but appears in a mirror where it is, again, split into two. While based on John Deakin's photographs of Dyer in Bacon's studio, the artist also drew on an obscure self-help book My System, 15 Minutes Work a Day for Health's Sake by J.P. Müller (1905).*
Taken from the exhibition
Francis Bacon: Human Presence
(October 2024 — January 2025)
Featuring more than 50 works from the 1940s onwards, this exhibition explores Francis Bacon’s deep connection to portraiture and how he challenged traditional definitions of the genre.
From his responses to portraiture by earlier artists, to large-scale paintings memorialising lost lovers, works from private and public collections will showcase Bacon’s life story. Accompanied by the artist’s self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and lovers Peter Lacy and George Dyer.
Regarded as one of the greatest painters of the 20th century, Francis Bacon came to prominence as an artist in the wake of the Second World War.
At a time when many younger artists were rejecting portraiture and figurative painting in favour of abstraction, Bacon was committed to depicting the human figure. He recalled and subverted age-old conventions of portraiture in bold and disquieting ways, making portraits with a visceral impact that could, in his words, 'give over all the pulsations of a person.'
The exhibition charts the development of portraiture through Bacon's career: from the series of 'screaming figures in the late 1940s and his obsession with Diego Velázquez's 17th-century masterpiece, Portrait of Pope Innocent X, through to the paintings he made of his closest friends, including lovers Peter Lacy and George Dyer and fellow artists Lucian Freud and Isabel Rawsthorne, whose appearance and personalities inspired Bacon for several decades.
All works are by Francis Bacon unless stated otherwise.
[*National Portrait Gallery]
Taken in the National Portrait Gallery
Oil on canvas
The disturbing nature of some of Bacon's portraits of Dyer allude to the deterioration of their relationship. In this portrait Dyer's face is missing, as though severed from his head, but appears in a mirror where it is, again, split into two. While based on John Deakin's photographs of Dyer in Bacon's studio, the artist also drew on an obscure self-help book My System, 15 Minutes Work a Day for Health's Sake by J.P. Müller (1905).*
Taken from the exhibition
Francis Bacon: Human Presence
(October 2024 — January 2025)
Featuring more than 50 works from the 1940s onwards, this exhibition explores Francis Bacon’s deep connection to portraiture and how he challenged traditional definitions of the genre.
From his responses to portraiture by earlier artists, to large-scale paintings memorialising lost lovers, works from private and public collections will showcase Bacon’s life story. Accompanied by the artist’s self-portraits, sitters include Lucian Freud, Isabel Rawsthorne and lovers Peter Lacy and George Dyer.
Regarded as one of the greatest painters of the 20th century, Francis Bacon came to prominence as an artist in the wake of the Second World War.
At a time when many younger artists were rejecting portraiture and figurative painting in favour of abstraction, Bacon was committed to depicting the human figure. He recalled and subverted age-old conventions of portraiture in bold and disquieting ways, making portraits with a visceral impact that could, in his words, 'give over all the pulsations of a person.'
The exhibition charts the development of portraiture through Bacon's career: from the series of 'screaming figures in the late 1940s and his obsession with Diego Velázquez's 17th-century masterpiece, Portrait of Pope Innocent X, through to the paintings he made of his closest friends, including lovers Peter Lacy and George Dyer and fellow artists Lucian Freud and Isabel Rawsthorne, whose appearance and personalities inspired Bacon for several decades.
All works are by Francis Bacon unless stated otherwise.
[*National Portrait Gallery]
Taken in the National Portrait Gallery
Madeira, Portugal
