建立您的首份清單。
分享及管理拍品的方法。
'I think art is an obsession with life and after all, as we are human beings, our greatest obsession is with ourselves.'
—Francis BaconIn Francis Bacon’s Trois études pour un autoportrait, the artist presents three depictions of his own face from shifting perspectives, isolated against an abyss of black. His face has been illuminated in three disparate flash-bulb moments, his features both emerge from and are invaded by the surrounding void of darkness. This ambivalence evokes a dizzying sense of motion, revolving around the central panel in which the artist’s melancholic face is directed outwards, mirroring the viewer looking in. Blurred and distorted, the restlessness of the composition elicits a sense of psychological distress in the subject.
Mortality is an ever-present theme that underpins Bacon’s oeuvre and in his self-portraits it comes to its zenith. In a 1975 interview, Bacon said to David Sylvester ‘I loathe my own face… I’ve done a lot of self-portraits, really because people have been dying around me like flies and I’ve nobody else left to paint but myself.’ In the mid-1970s, many of the people closest to Bacon passed away, causing him to begin his most prolonged and intense period of self-portraiture in his career. Painting his own face almost obsessively, after hours of close self-examination from either photographs of himself or from staring in the mirror, the self-portraits are highly analytical investigations into his inner psyche. Intensely ruminating on mortality, the works are windows that reveal an undeniable existential truth about the human condition.
Jorge Lewinski, Francis Bacon, 1967. © The Lewinski Archive at Chatsworth / Bridgeman Images Far from being a combination of disparate works, the triptych is comprised of three sequential and interconnected images that constitute a cohesive, almost panoramic, portrait of the artist. ‘I see images in series’, said Bacon and ‘in the triptychs I get them rather like police records, looking side face, front face, and then side face from the other side.’ There is a Muybridge-style sense of frame-by-frame movement, or that the viewer’s gaze encircles and traps the sitter. Despite the subject’s commanding physical presence, the volatility effused by the varying perspectives and the mercurial rendering of paint summons an unwavering acknowledgement of mortality and the fleeting nature of human life.'I don’t emphasise death. I accept it as part of one’s existence. One is always aware of mortality in life, even in a rose that blooms and then dies.' —Francis Bacon
文學
Bruno Sabatier 26
Alexandre Tacou 28藝術家簡介
法蘭西斯．培根
Irish-British • 1909 - 1992
Francis Bacon was a larger-than-life figure during his lifetime and remains one now more than ever. Famous for keeping a messy studio, and even more so for his controversial, celebrated depictions of papal subjects and bullfights, often told in triptychs, Bacon signified the blinding dawn of the Modern era. His signature blurred portraits weren't murky enough to stave off his reputation as highly contentious—his paintings were provocations against social order in the people's eye. But, Bacon often said, "You can't be more horrific than life itself."
In conversation with yet challenging the conventions of Modern art, Bacon was known for his triptychs brutalizing formalist truths, particularly Three Studies for Figures at the Base of a Crucifixion, which Bacon debuted in London in 1944, and Three Studies of Lucian Freud, which became famous when it set the record for most expensive work of art at auction at the time it sold in 2013.
12
《追隨在「自畫像三聯畫」之後，1983年 (S. 26, T. 28)》
1990年作
三組石版畫 單一 Arches 紙本（全包邊）
每組圖像：34 x 29 公分 (13 3/8 x 11 3/8 英吋)
整體圖像：34 x 89.2 公分 (13 3/8 x 35 1/8 英吋)
紙本：52 x 94 公分 (20 1/2 x 37 英吋)
款識：簽名、7/60
尚有幾版藝術家試作版，巴黎 Michel Archimbaud 為 Séguier 書店出版，已裱。
估價
£15,000 - 20,000 ‡♠
成交價£20,160
Rebecca Tooby-Desmond
拍賣主管暨專家
T +44 207 318 4079
M +44 7502 417366
rtooby-desmond@phillips.com
Robert Kennan
版畫部歐洲區主管
T +44 207 318 4075
M +44 7824 994 784
rkennan@phillips.com
Anne Schneider-Wilson
資深專家
T +44 207 318 4042
M +44 7760 864 748
aschneider-wilson@phillips.com
晚間及日間限量版畫
倫敦拍賣 2022年1月19-20日
14
法蘭西斯．培根
《追隨在「男性背部三聯畫」之後，1970年，左組）(S. 21, T. 21)》
估價 £5,000 - 7,000 ‡♠
成交價 £10,710
建立您的首份清單。
分享及管理拍品的方法。
49
此拍品已不再提供買賣。
50
此拍品已不再提供買賣。
51
此拍品已不再提供買賣。
52
此拍品已不再提供買賣。
54
此拍品已不再提供買賣。
91
巴勃羅．畢卡索
《受傷的牛頭怪–來自「沃拉德套房」第88版 (Bl. 196, Ba. 363)》
估價 £3,500 - 4,500 ‡♠
成交價 £9,450
建立您的首份清單。
分享及管理拍品的方法。
274
此拍品已不再提供買賣。