The photography dates provide key data, therefore, in the chronology of paintings. "[7], Three Studies was first shown at a joint exhibition at the Lefevre Gallery, London, in April 1945, alongside work by Henry Moore and Graham Sutherland.

DACS 2018, , Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, , Centre national d'art et de culture Georges Pompidou, 'Francis Bacon: Tate Centennial (2008-9)', 'Francis Bacon: from Picasso to Velásquez', 'Paintings from the Collection of the Solomon R. Guggenheim Museum', 'Masterpieces from the Solomon R. Guggenheim Museum', 'Aspects of British Art from the Permanent Collection', 'Acquisition Priorities: Aspects of Postwar Painting in Europe', 'La grande parade: Highlights in Painting after 1940', 'The Expressive Figure from Rousseau to Bacon: European Art in the Guggenheim Museum Collection', 'Fifty Years of Collecting: An Anniversary Selection, Painting Since World War II', 'Viewpoints: Postwar Paintings and Sculpture from the Guggenheim Museum Collection and Major Loans', 'Masterpieces from the Permanent Collection: The Guggenheim Museum and the Art of This Century', , Mestrariteoksia Guggenheim Museosta, Helsinki, Athenum, 'The Guggenheim Museums and the Art of This Century', 'Rendez-vous: Masterpieces from the Centre Georges Pompidou and the Guggenheim Museums', 'The Global Guggenheim: Selections from the Extended Collection', 'Pintura al Desnudo: Picasso, Dubuffet, de Kooning, Bacon, Saura', , Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, London: Tate Gallery

The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side.

Edinburgh: National Galleries of Scotland in association with the British Council, In Camera: Francis Bacon, Photography, Film and the Practice of Painting, pp. 1962-1 Jul. ', 'Bacon painting settles £680,000 tax demand', 'Bacon papal portrait sells for record £14m', 'Bacon record tops £3.9m on a British night out', 'Bacon wanted to bin these 'bits and bobs' - last night they sold for £1.1m', 'Bacon's bleak look at the business of growing old', 'Bacon's rare portraits of female lover go to auction', 'Bacon's works on despair fetch six figures', 'Bacon, White, de Maistre and a reds-topped desk', 'Beaux Arts Gallery: studies of movement with Mr. Wirth-Miller', 'Best of British Bacon in Russian art show', 'Bring Bacon home: The art world continues to neglect our native genius', 'Brushes with the soldiery of the canvas', 'Classic Bacon: Triptych could fetch record £35m', 'Current and Forthcoming Exhibitions: London', 'Current and Forthcoming Exhibitions: Switzerland', 'Current shows and comments: "If winter comes..."', 'Current shows and comments: A bit of chiffon', 'Current shows and comments: On the significance of a word', 'Current shows and comments: The Dark is Light Enough: Francis Bacon at the Marlborough', 'Current shows and comments: The academic challenge', 'Deleuze, Gilles. Francis Bacon: The Logic of Sensation', 'Demons and beefcake - the other side of Bacon / Sadomasochism and shoplifting sprees: Bacon's legacy revisited', 'Disturbed Ground: Francis Bacon, Traumatic Memory and the Gothic', 'Eerie resonance as Moore and Bacon capture a savage dignity', 'European painting in LA: A grab bag of well-worn issues', 'Ex-convict gets the spoils of Bacon's £30m legacy', 'Exhibition Reviews: Bacon/Picasso: Paris', 'Exhibition Reviews: Bacon; Hirst: London', 'Exhibition Reviews: Edinburgh and Luxembourg: The School of London', 'Exhibition Reviews: Francis Bacon: Norwich, Wisconsin and Buffalo', 'Exhibition Reviews: Francis Bacon: Vienna and Basel', 'Exhibition Reviews: London: Francis Bacon', 'Exhibition Reviews: New York: Winter painting exhibitions', 'Exhibition Reviews: Paris and Munich: Francis Bacon', 'Exhibition Reviews: São Paulo: The 1998 Bienal', 'Exhibitions: Francis Bacon: Dublin and Compton Verney', 'Explosion at San Giovanni in Laterano, Summer 1993: Notes for Francis Bacon's Figure with Meat', 'Farewell to flat, goodbye to square: London Commentary', 'For sale: portraits that Bacon wanted to dump in a skip', 'Francis Bacon - 'I Wanted to Paint the Scream'', 'Francis Bacon Archive, Tate Britain, London', 'Francis Bacon and Walter Sickert: 'images which unlock other images'', 'Francis Bacon and a vision of perfection', 'Francis Bacon and the Fortunes of Poetry', 'Francis Bacon and the tradition of art: Kunsthistorisches Museum, Vienna', 'Francis Bacon artwork sets auction record in NY', 'Francis Bacon at the Metropolitan Museum', 'Francis Bacon in Paris: figures in a room', 'Francis Bacon o la pintura en carne viva', 'Francis Bacon was a shock merchant, not a Nazi', 'Francis Bacon's correspondence with Sir Colin Anderson', 'Francis Bacon's plea for costs rejected', 'Francis Bacon, 82, Artist of the Macabre, Dies: Francis Bacon, Painter, Is Dead at 82', 'Francis Bacon, Louise Bourgeois and Franz Xaver Messerschmidt: Cheim and Read', 'Francis Bacon, confounder of art critics: Master of ebullient despair', 'Francis Bacon, the Papal Portraits of 1953', 'Francis Bacon/Henry Moore: Flesh and Bone, Ashmolean Museum', 'Francis Bacon: "De-Faced" Self-Portraits', 'Francis Bacon: A great, shocking, eccentric painter', 'Francis Bacon: Metropolitan Museum of Art', 'Francis Bacon: New transmutations of an autumn rose', 'Francis Bacon: Painting after Photography', 'Francis Bacon: South Kensington London 1982', 'Francis Bacon: Studies for a Portrait - Francis Bacon: Incunabula', 'Francis Bacon: contradicciones sublimadas', 'Francis Bacon: une bouche comme un Sahara', 'French and English art: New trends in painting and sculpture', 'From London: Some Anglo-Saxon intentions and responses', 'From the Archives: James Thrall Soby and Francis Bacon', 'Galleries: A natural talent for symbolism', 'Galleries: The thoughtful process of falling off a log', 'Gallery 'cheated Bacon out of tens of millions'', 'Gowrie’s 'outrageous' decision stops lottery cash for artist’s story: Bacon love film funding blocked', 'Handyman brings home the Bacon for art sleuths', 'Hanover Gallery: Mr. Francis Bacon's paintings', 'High prices for modern British pictures', 'His life was a commitment to excess.

The five works Bacon included in his first exhibition, in 1930, all had specific titles. 1985-18 Aug. 1985, Stuttgart: Staatsgalerie ', 'Bacon not artist of his 'self-portrait'?

46, p. 43, The Brutality of Fact: Interviews with Francis Bacon, pp.

Melville doubted that Bacon gave any of his paintings the title ‘Pope’, and pointed out that when he was working for Erica Brausen at the Hanover Gallery, ‘we used to call them “cardinals” rather than “popes” in the presence of visitors, to make sure that no one would be offended.’ Melville predicted that all the paintings in the 1964 catalogue would be thenceforth known by the titles assigned to them by Ronald Alley. 78, pp. Harrison, Martin.

His paintings are included in important public collections, including the National Gallery, London; the Whitworth Art Gallery, Manchester; and the Arts Council of England. [21] The form of the Furies is borrowed directly from Picasso's late 1920s and mid-1930s pictures of biomorphs on beaches, in particular from the Spanish artist's The Bathers (1937). 15, p. 40 (right panel), No. Moreover, if, Robert Melville, reviewing the 1964 Alley/Rothenstein catalogue raisonné in, ''Francis Bacon' Tate Britain 11 September 2008-4 January 2009 (and two publications)', ''Lost' Bacon painting expected to fetch £1.5m', 'A British Outsider Embraced With a French Blockbuster', 'A Course of Severe and Arduous Trials': Bacon, Beckett and Spurious Freemasonry in Early Twentieth-Century Ireland, 'A Magnificent Mischief-Maker: To be in Francis Bacon's company was to be dazzled and confused, seduced and stunned', 'A Note on the Development of Francis Bacon's Painting', 'A Trail of Human Presence: On Some Early Paintings of Francis Bacon', 'Ambivalent Homecomings: Louis le Brocquy, Francis Bacon and the Mechanics of Canonization', 'Another Look at Bacon: Newfound Canvases Shed More Light on a Master', 'Apparitions of evil: Mr. Francis Bacon's new paintings', 'Art Dispatch from Europe: Düsseldorf.

[10] He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. 8, p. 13 (b&w), No. Collection. 40-41, p. 74, ill. No. Solomon R. Guggenheim Museum, New York. [25] In other respects the triptych stands apart from other paintings in his oeuvre. 18 Oct. 1963-12 Jan. 1964, Chicago: Art Institute of Chicago 2005-30 May. 4 Jun. Bacon's new paintings: African animals', 'Mr.

50 (centre panel), 51, No. Three Studies for Figures at the Base of a Crucifixion occupies a unique position in Francis Bacon’s work.

Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete (by burning the fragments, for example).

In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon’s indifference – or hostility – towards his pre-1944 œuvre). Some of the titles initially given to them have been revised here; for example, ‘Figures in a Landscape’, c.1956 (56-11) has been substituted for ‘Two Figures in the Grass’, which is more logical in view of its relationship with Figures in a Landscape, 1956-57 (57-01). [13], The panels of Three Studies for Figures at the Base of a Crucifixion are painted on light Sundeala boards, a material Bacon was using at the time as an inexpensive alternative to canvas. Three Studies for Figures at the Base of a Crucifixion circa 1944, Three Studies for Figures at the Base of a Crucifixion, circa 1944, Full catalogue entry of the 1988 version at Tate Online, Study for Portrait II (After the Life Mask of William Blake), Version No. Chilvers, Ian. Three Studies for A Crucifixion is a work by Hughie O'Donoghue. [54] Critic Jonathan Meades felt that while the 1988 triptych was a more polished and painterly work, it lacked the rawness of the original. Francis Bacon was a dominant figure of postwar art, and his canvases remain unmistakable for their contorted emotion and visceral physicality. 1993-10 Oct. 1993, pp. 7, pp. [17] It bares its teeth as if in a snarl, and is blindfolded by a drooping cloth bandage—a device likely drawn from Matthias Grünewald's Mocking of Christ. Alley 201.