Francis Bacon un tableau rare chez Christie’s

Accueil » art contemporain » Francis Bacon un tableau rare chez Christie’s | Par Thierry Grizard, publié le 5 juillet 2016, modifié le 31 décembre 2018

Francis Bacon chez Christie’s

Francis Bacon, “Lying Figure with Hypodermic Syringe” version N°2 atteint £20,242,500 au marteau lors de la vente: “Defining british art evening sale” du 30 juin 2016.
francis-bacon,painting,lying-figure-with-hypodermic-syringe,ecole-de-londres,christie,auction,2016

©Francis Bacon. Courtesy Christie's London.


Notes concernant le lot de la vente du 30 juin 2016:

Lot Notes: With its writhing, serpentine figure set within a stark amphitheatre of colour and form, Version No. 2 of Lying Figure with Hypodermic Syringe is one of the great masterpieces of Francis Bacon’s finest period: the 1960s. Against a sea of deep, cardinal red, flanked by a curtain of rapid painterly striations, Bacon’s supine nude lies sprawled upon a bed, framed by a vast ocular lens and suspended within a sharp cubic grid. Executed on a monumental scale, spanning nearly two metres in height, the painting marks the critical moment in Bacon’s oeuvre at which the diverse experimental strands of the preceding decade were brought into powerful synthesis: the near-total abstraction of the figure, the visceral animation of flesh, the corporeal handling of pigment and the rich, sensory palette of opulent and electric hues. Closely related to Bacon’s two great Lying Figure compositions of 1966 and 1969, housed in the Museo Nacional de Arte Reina Sofía and the Fondation Beyeler respectively, the painting represents a direct reworking of his 1963 canvas Lying Figure with Hypodermic Syringe. In its transformation of the earlier void-like composition into a living theatre of figural abstraction, the painting tells a story largely untold within Baconian mythology: the relationship between the artist and Willem de Kooning, whom he had met earlier that year. Like the American master’s seminal depictions of the female body as sites of raw, carnal sensation, Bacon’s woman dissolves into a violent, almost eligible tangle of limbs in motion: a dynamic bundle of animal matter in its most rarefied state. Whilst the cage and the ellipse – structures both visible in the present work – had previously provided Bacon with a means of ‘pinning down’ this pulsating figural energy, here they are no longer enough. The operation, transmitted directly from Bacon’s own nervous system onto the canvas, now required a syringe. Lire la suite ici... 

 


 

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