video topic: art
entry type: documentary, drama
video title: Francis Bacon (1988)
The Art of Francis Bacon
Love Is the Devil: Study for a Portrait of Francis Bacon
artist featured: Francis Bacon
director: mixed
producer: mixed
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Francis Bacon (1988)
The Art of Francis Bacon
Love Is the Devil: Study for a Portrait of Francis Bacon
about Francic Bacon
Francis Bacon (28 October 1909 – 28 April 1992), was an Anglo-Irish figurative painter known for his bold, austere, graphic and emotionally raw imagery. Bacon's painterly but abstract figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. He began painting during his early 20s and worked only sporadically until his mid 30s. Before this time he drifted, earning his living as an interior decorator and designer of furniture and rugs. Later, he admitted that his career was delayed because he had spent too long looking for a subject that would sustain his interest. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, and it was this work and his heads and figures of the late 1940s through to the mid 1950s that sealed his reputation as a notably bleak chronicler of the human condition.
From the mid 1960s, Bacon mainly produced portrait heads of friends. He often said in interviews that he saw images "in series", and his artistic output often saw him focus on single themes for sustained periods including his crucifixion, Papal heads, and later single and triptych heads series. He began by painting variations on the Crucifixion and later focused on half human-half grotesque portraits, best exemplified by the 1949 "Heads in a Room" series. Following the 1971 suicide of his lover George Dyer, Bacon's art became more personal, inward looking and preoccupied with themes and motifs of death. The climax of this late period came with his 1982 "Study for Self-Portrait", and his late masterpiece Study for a Self Portrait -Triptych, 1985-86.
Despite his existentialist outlook on life expressed through his paintings, Bacon always appeared to be a bon vivant, spending much of his middle and later life eating, drinking and gambling in London's Soho with Lucian Freud, John Deakin, Daniel Farson, Patrick Swift, Jeffrey Bernard, Muriel Belcher and Henrietta Moraes, among others. Following Dyer's death he distanced himself from this circle and became less involved with rough trade to settle in a platonic relationship with his eventual heir, John Edwards. Since his death in 1992, Bacon's reputation has steadily grown. Despite Margaret Thatcher having famously described him as "that man who paints those dreadful pictures",[4] he was the subject of two major Tate retrospectives during his lifetime and received a third in 2008. Bacon always professed not to depend on preparatory works and was resolute that he never drew. Yet since his death, a number of sketches have emerged and although the Tate recognised them as canon, they have not yet been acknowledged as such by the art market. In addition, in the late 1990s, several presumed destroyed major works,[5] including Popes from the early 1950s and Heads from the 1960s, surfaced on the art market, some of which are considered equal to any of his "official" output.
Francis Bacon (1988)
entry type: documentary
video title: Francis Bacon (1988)
director: David Hinton
producer: ArtHaus
run time: 55 min
size:
release date: 1988
Imdb: http://www.imdb.com/title/tt0297899/
courtesy:
http://www.foreignmoviesddl.org/2008/09/francis-bacon-1988-david-hinton.html
Melvyn Bragg, who returns to the series to present Francis Bacon, doesn't help the fence-sitters. In his introduction, he claims that Bacon is "widely held to be the greatest living painter in the world." Yet from the moment of their first filmed meeting, which takes place in a darkened storeroom at the Tate Gallery before a slideshow of various paintings (Bacon's and others), Bragg harasses and antagonizes his guest in a manner I find utterly offensive. He begins insidiously by showing the artist slides of works by Pollock and Rothko (both of whom Bacon is known to dislike), and hits his mark soon after: while showing Van Gogh's The Night Café (1888), Bragg quotes Vincent as having said he sees the café as a "place one can ruin oneself, run mad or commit a crime." Bacon then defends the "nightlife," playing right into the hands of his host. Later in the piece, the cameras follow Bacon on an evening tour of his favorite haunts, which include seedy London bars and casinos. Once the artist is thoroughly snoggered, Bragg closes in for the kill, striking far below the belt.
The most interesting, enlightening segment is the tour of Bacon's dark, cramped studio, encrusted with decades of paint, where he shares a small sampling of his reference photo collection. Images of people deformed by disease, wrestlers and bullfighters grappling, and humans caught in the contortions of motion (Muybridge) begin to illuminate his "muse." Here, the dialogue between the two men is at its least adversarial and most insightful.
But all too soon, Bragg whisks his victim away to a café for more talk over red wine. When asked to comment on some negative adjectives used to describe his paintings, Bacon manages to reply, "If you read the newspapers, if you look at television, if you know what's going on in the world, what could I do that competes with the horrors going on?" and sufficiently deflects his inquisitor, as one imagines he has done, similarly, hundreds of times throughout his long career.
Bacon's iconography relies on grotesque and deformed figures, often captured writhing in pain or terror, set in stark, surrealistic surroundings. Unsettling to be sure, but there is something important to face in these images: mortality, torture, and suffering, all the stuff of life we hope to avoid even in death, but it's there. What compels this artist to paint these images? Even after this viewing, I don't know. But I will continue to be haunted by them, and perhaps in some terrible hour, I will understand.
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The Art of Francis Bacon
entry type: documentary
video title: The Art of Francis Bacon
director: mixed
producer: Illuminations
run time: 53 min
size: 746 mb
release date: 2007
Imdb:
courtesy:
http://www.shareseeking.com/The-Art-of-Francis-Bacon-2007-_237086.html
Francis Bacon is the essential British painter of the twentieth century. From the end of the Second World War until his death in 1992, he created an extraordinary body of intense and uncompromising figure paintings and portraits. Drawing on diverse influences including Picasso, Velasquez’s portrait of Pope Innocent X, the photographs of Eadweard Muybridge and Sergei Eisenstein’s film Battleship Potemkin, Bacon undertook a pitiless analysis in paint of himself and his friends, of the human body, and of our place in a godless universe.
This film explores many of his key canvases which have been newly filmed in HDTV. The works are complemented solely with Bacon’s own words, recorded by Derek Jacobi. The artist’s biography is outlined, but the focus is on his ideas: his thoughts about his work, his reflections about how and why he paints. The result is a rigorous and revealing portrait of one of the few artists who has truly changed the way we see and understand ourselves.
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part 2: http://youtu.be/_bE7rZJsmWE
part 3: http://youtu.be/enwCnoxNWwg
part 4: http://youtu.be/fzRaFyTg7QI
part 5: http://youtu.be/DRAlzGWbL9w
part 6: http://youtu.be/DZCnBaxOxDk
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Love Is the Devil: Study for a Portrait of Francis Bacon
entry type: drama
video title: Love Is the Devil: Study for a Portrait of Francis Bacon
director: John Maybury
producer: BBC
run time: 90 min
size: 1.41 gb
release date: 1998
Imdb: http://www.imdb.com/title/tt0119577/
courtesy:
http://www.shareseeking.com/Love-Is-the-Devil-Study-for-a-Portrait-of-Francis-Bacon-by-John-Maybury-1998-_700977.html
In the 1960s, British painter Francis Bacon (1909-1992) surprises a burglar and invites him to share his bed. The burglar, a working class man named George Dyer, 30 years Bacon's junior, accepts. Bacon finds Dyer's amorality and innocence attractive, introducing him to his Soho pals. In their sex life, Dyer dominates, Bacon is the masochist. Dyer's bouts with depression, his drinking and pill popping, and his satanic nightmares strain the relationship, as does his pain with Bacon's casual infidelities. Bacon paints, talks with wit, and, as Dyer spins out of control, begins to find him tiresome. Could Bacon care less?
starring: Derek Jacobi, Daniel Craig, Tilda Swinton
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--== FILESONIC PART1 ==--
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--== FILESONIC PART5 ==--
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extra
Online version:
Francis Bacon (1988)
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part 2:
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