"Francis Bacon barely needs an introduction. Well-known for his idiosyncratic approach to figurative painting, his screaming popes, unconventional figure studies and portraits are among the most iconic images of British post-war art.
During his lifetime, Bacon strictly controlled his public image and his own ideas of how he wanted to be perceived echo distinctively in scholarship to date, such as the elusive- and false- claim that his imagery emerged ‘by chance‘.
Over twenty years after Bacon‘s death in 1992, art historical research is still in the process of deconstructing the mystique the artist created around himself and his work, filling in gaps in the scant knowledge we have on his biography and painting practice and unraveling old critical misconceptions and patterns of interpretation. This process was notably facilitated by the posthumous accessibility of hitherto private material, such as the contents of Bacon‘s London studio at 7 Reece Mews, which caused a paradigmatic shift in research on his working methods."
Continue reading Katharina Guenther's text on-artbooks.com