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Francis Bacon was one of the most powerful and enigmatic creative geniuses of the twentieth century. Immediately recognizable, his paintings continue to challenge interpretations and provoke controversy. Bacon was also an extraordinary personality. Generous but cruel, forthright yet manipulative, ebullient but in despair: He was the sum of his contradictions. This life, lived at extremes, was filled with achievement and triumph, misfortune and personal tragedy.
In his revised and updated edition of an already brilliant biography, Michael Peppiatt has drawn on fresh material that has become available in the sixteen years since the artist’s death. Most important, he includes confidential material given to him by Bacon but omitted from the first edition. Francis Bacon derives from the hundreds of occasions Bacon and Peppiatt sat conversing, often late into the night, over many years, and particularly when Bacon was working in Paris. We are also given insight into Bacon’s intimate relationships, his artistic convictions and views on life, as well as his often acerbic comments on his contemporaries.
- Sales Rank: #302985 in eBooks
- Published on: 2009-09-01
- Released on: 2009-09-01
- Format: Kindle eBook
Amazon.com Review
This frank portrait of Anglo-Irish painter Francis Bacon (1909-92) contains enough juicy details about his lurid sex life and hard partying to satisfy even the most avid consumers of art-world gossip. But art critic Michael Peppiatt, who knew Bacon personally, also provides insightful analyses of his paintings and the nerve their anguished subject matter and technique struck in the uneasy years following World War II. In addition, Peppiatt illuminates the autobiographical roots of powerful works such as Pope I, Three Studies for a Crucifixion, and In Memory of George Dyer.
From Library Journal
These two books enrich the already substantial Bacon bibliography with different but equally successful approaches. While Peppiatt's biography fleshes out, with lucidity and scholarship, biographical and contextual details heretofore unexplored, Bacon: Portraits and Self-Portraits is a lavishly produced treat with a sharp focus, carefully chosen reproductions, and inspired writing. Peppiatt (editor of Art International) brings both a critical and a personal perspective to his subject, as he was a close friend of the artist. Bacon's haunting images almost beg for psychological exploration; likewise, one is tempted to search for elements of the artist's hidden, exceptional life (and lifestyle) in his work. The new information Peppiatt provides about Bacon's early years enlarges the already complex portrait of the artist, and the interplay of persona and paintings adds up to a compelling and readable study. Bacon: Portraits and Self-Portraits is composed of Bacon's representations of people?ranging from Lucian Freud to Mick Jagger?with many details and photographs that unveil the remarkable likenesses retained in studies that on the surface are gross distortions. Kundera's essay explores links with Picasso and Beckett and is wonderfully perceptive, while Belgian art historian Borel's prose is provocative?albeit a bit ponderous, possibly in part because of the translation. Both titles are highly recommended for 20th-century art collections, although the latter is more of a luxury.?Heidi Martin Winston,
Copyright 1997 Reed Business Information, Inc.
From Kirkus Reviews
In his time, the late Francis Bacon was regarded both as England's ``most important living painter'' and as a ``cheap sensationalist.'' This excellent biography reveals a dramatic self- mythologizer who painted brilliantly enough to realize his self- cast, epic-tragic role. Bacon created a closely guarded myth of his excessive, tumultuous personal life, never wanting his enigmatic, powerfully disturbing paintings to be explained away with a simple biographical anecdote. He also blocked biographies from being published, and destroyed many of his paintings that didn't pass muster. Peppiatt, a friend of the artist's and the editor of Art International, respects Bacon's controlling, antireductionist instinct--not out of deference, but because no brief catalog of life experiences could explain the complex horror of any one of Bacon's paintings. The artist spent his early years in Ireland and England. He was as flamboyantly gay as the times would allow and was thrown out of the family by his father, who caught him wearing Mrs. Bacon's underwear. He traveled to Berlin and Paris and lived on the edge, associating with high society and low-lifes alike--a social fluency he retained his entire life. He endured, and sometimes enjoyed, beatings from various lovers. He drank to excess, took pills, and slept little. Ultimately, Bacon synthesized an artistic territory distinctly his own; he was ``insufficiently surreal'' to join the surrealists and too figurative to be an abstractionist. The unsettling power of his work eventually brought throngs of visitors to the most prestigious galleries in Europe and America. And his appeal endures: A recent exhibition in France drew up to five thousand visitors a day. Peppiatt stalks and bags elusive prey: a better understanding of a disturbing body of work created by a man who lived inscrutably, in purposeful chaos. (illustrations, not seen) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
4 of 4 people found the following review helpful.
The Master of the Craft
By Suzinne Barrett
As is the case with any artist, be they a writer, painter or musician, the key to understanding their work is all in the lives they have led. Francis Bacon, our subject at hand, was an extremely complex individual. Grew up with a father who rather distained his "pansy" son. Francis was afflicted with asthma from an early age, although he eventually grew to have an exceptionally hearty constitution. In fact, even though he was a heavy drinker and crawled the pubs deep into the night, he always woke up in the morning for a full day at the canvas. The author of this exceptionally well written biography knew Francis Bacon up close, and his revelations about Francis Bacon's relationships with Peter Lacy, George Dyer and John Edwards (beneficiary of Bacon's entire estate) are integral to understanding the work. That said, love was a rather sadomasochistic exercise for Francis Bacon, and his artwork continually evoked the tension of violence as well.
My favorite part of the book has to do with George Dyer. George was an exceptionally handsome and endearing figure, and according to myth (as set forth in film "Love Is the Devil") the relationship started when George, your typical bungling burglar, broke into Bacon's studio and got caught by the painter. More than lucky this was for Bacon, who liked his men rough around the edges, and any criminal connection on their part was an added bonus. Bacon grew up among the upper classes but preferred to mix with East End types, which here in the States would transfer as "blue collar lower middle class." George Dyer became a muse for Bacon, and his persona turns up in many of his greatest paintings. In fact, one of Bacon's most accomplished triptychs is a portrayal of George Dyer's last living day while staying at a French hotel, immediately prior to a huge Bacon exhibition there. George died as the result of an overdose bought on by depression, and when the exhibition opened the next day Francis Bacon famously soldiered on as if nothing had happened. But in all reality, Mr. Bacon carried the heavy burden of guilt for George's death, which was essentially a suicide, and those feelings inevitably fueled the many George centric panels that followed.
Anyone interested in interpreting the not so transparent work of Francis Bacon needs to read this book. Have enjoyed it thoroughly and have read it multiple times. Actually, this book is so dense with insight, I would venture to say a second reading is all but required.
1 of 1 people found the following review helpful.
One Of The Best Written Biographies Ever!
By Anna V. Carroll
I wish my late fiance (British) had lived to see me delving into one of his favorite artists, Francis Bacon. He would be stunned at my complete turn-around. Until recently, anything Francis Bacon was a total turn-off. His work, anything about him. Then I saw LOVE IS THE DEVIL and cannot get enough information about this brilliant but demon-driven man. This book is so intelligently and sympathetically written. It is a rather extensive book that I hated to put down. The author must have interviewed every person Bacon had known since childhood to get the background he covers. Family, nanny (who played an enormous role in his childhood and adulthood), the men, the women, the enemies, the friends, his work, his feelings about his work. I bought my copy from amazon.com but it came from the UK in no time. If you have any desire to learn anything about the artist (who was born 100 years ago this year), I suggest you get a copy immediately before it is out of print. I am hoping that the retrospective of his work that is supposed to take place this year in NYC will generate enough interest that these books will become readily available again. See LOVE IS THE DEVIL (with Derek Jacobi & Daniel Craig) and then read this book. This book defies the myth that Bacon met George Dyer when he fell from his skylight one night to rob him. Farson's book says this is the story he always heard. It is the first scene in the film. But Peppiatt claims they met in a bar. I rather prefer the falling from the skylight version myself. Once you have read Farson and Peppiatt's books, get 7 REECE MEWS FRANCIS BACON'S STUDIO. A small, lovely color photography book of his studio after his death. You have to read that one with a magnifying glass so that you don't miss a single item on the page. Well worth the trouble. Graham would be so proud of me! Finally, I understand what all the fuss was about.
7 of 7 people found the following review helpful.
The Best Biography of Bacon
By Efroseni
If one is searching for a "Life" of F. Bacon, this is the one to read. It has been revised and updated from the original hardcover edition, which was praised when it first appeared. Peppiatt knew Bacon during the later periods of the painter's life. There are many descriptions of first-hand experiences. Among critical studies focusing on Bacon, three writers who knew Bacon during his lifetime are: John Russell (Thames & Hudson), David Sylvester (interview collections) and Michel Leiris (Rizzoli, 1983 in English translation). All three are excellent.
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