Looking Back at Francis Bacon by David Sylvester

by David Sylvester

Controversial in both life and art, Francis Bacon was one of the most important painters of the twentieth century. His monumental, unsettling images have an extraordinary power to disturb, shock, and haunt the spectator, "to unlock the valves of feeling and therefore return the onlooker to life more violently".Eminent writer and curator David Sylvester provides the definitive account of the career of an artist whose friend and collaborator he was for more than forty years. Drawing on his unparalleled personal knowledge of Bacon's inspirations and intentions, he first offers a critical overview of the development of Bacon's work from 1933 to the early 1990s, and then addresses its crucial aspects. Sylvester also reproduces previously unpublished extracts from his celebrated conversations with Bacon in which the artist speaks about himself, modern painters, and the art of the past. Finally, he gives a brief account of Bacon's life, correcting errors that elsewhere have been presented as facts.

Accompanying the incisive and revealing text are reproductions of almost every Bacon work discussed, including twelve triptych fold-outs. The most complete work on Bacon yet, this book constitutes a portrait of one of the creative geniuses of our age by a writer of comparable distinction.

Genres: Art, Art History

Hardcover

First published September 5, 2000

About the author

Anthony David Bernard Sylvester CBE, (21 September 1924; London – 19 June 2001; London) was a British art critic and curator. During a long career David Sylvester was influential in promoting modern art in Britain, in particular the work of Lucian Freud and Francis Bacon.

Born into a well connected north-London Jewish family, Sylvester had trouble as a student at University College School and was thrown out of the family home. He wrote for the paper Tribune and went to Paris in 1947 where he met Alberto Giacometti one of the strongest influences on him. Though writing for a range of publications as a critic including The Observer and New Statesman the main thrust of his writing that direct response to the artwork was most important remained constant. Sylvester is credited with coining the term kitchen sink originally to describe a strand of post-war British painting typified by John Bratby. Sylvester used the phrase negatively but it was widely applied to other art forms including literature and theatre. During the 1950s Sylvester worked with Henry Moore, Freud and Bacon but also supported Richard Hamilton and the other 'Young Turks' of British pop art. This led him to become a prominent media figure in the 1960s. During the 1960s and 70s Sylvester occupied a number of roles at the Arts Council of Great Britain serving on advisory panels and on the main panel. In 1969 he curated a Renoir exhibition at the Hayward Gallery for which he was assisted by a young Nicholas Serota.

Reviews

[Joana Diniz · Rating 5 out of 5]

For those who really like Francis Bacon's works or want to know more about him.

[Jee Koh · Rating 4 out of 5]

Deepening the Game

In this book Sylvester reviews Bacon's painting more or less chronologically, but also organizes his discussion into themes: a late starter, a trail of the human presence, a state of unease, all the pulsations of a person, images in series, an escape from emotion, a picture but not a picture. Many sharp insights into the paintings, generously reproduced in the book. One I liked especially is that Bacon's heads are inspired by Picasso, his bodies by Matisse. Bacon preferred Picasso to Matisse because the former exhibits "the brutality of fact."

After "Review," the section "Reflections" meditates, in short prose pieces, on different aspects of Bacon's art, such as "The painter as medium," "Bacon and poetry," "Bacon and Giocometti," "Bacon's secret vice," and "Images of the human body." The third section "Fragments of Talk" gathers together snippets of interviews and conversations Sylvester had with Bacon.

Bacon in his own words:

I think that the very great artists were not trying to express themselves. They were trying to trap the fact, because, after all, artists are obsessed by life and by certain things that obsess them that they want to record. And they've tried to find systems and construct the cages in which these things can be caught.

*

I think that great art is deeply ordered. Even if within the order there may be enormously instinctive and accidental things, nevertheless I think that they come out of a desire for ordering and for returning fact onto the nervous system in a more violent way.

*

You see, all art has now become completely a game by which man distracts himself; and you may say it has always been like that, but now it's entirely a game. What is fascinating now is that it's going to become much more difficult for the artists, because he must really deepen the game to be any good at all.