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Read’s text was dim and theoretical, but his ragbag of black-and-white illustrations—by the giants of modernism, as well as the chauvinistic author’s pets—was the one corpus of plates then available. This Crucifixion—a cruciform gush of sperm against a night sky, prescient of searchlights in the blitz—was irresistibly eye-catching. And yet when he places his formalised variations of these images throughout the summary areas of his canvasses, something actually unusual happens.

After going deaf and being totally socially marginalized, Goya spent some of his last years decorating the partitions of his house with dark, twisted visions of cannibalism, violence, witchcraft and other morbid topics. He painted deformed human-like figures with distorted features. In her essay Bacon and Spanish Painting, Manuela Mena points out that Goya stands out as “the first artist in history for whom the human being was no longer an ideal and harmonious whole.” The figures in the Black Paintings replicate this modern posture. We see Bacon’s head as a spectral trace, hovering on the fringe of darkness.

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Thatching work on a cottage once occupied by painter Francis Bacon led to a lesson in fighting thatch fires. Then there would be no problem in dealing with trauma. Trauma can be just another type of chaos that we already are.

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He exposes himself in a way that’s deeply disturbing, and I want to have that sort of courage. The work I do appears to be a touch upon natural history, but it’s additionally an exploration of darker elements of your psyche, and for me, animals work as fantastic metaphors for that kind of thing. There’s nothing more human in all Bacon’s work than his painting of that isolated dog.

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His Screaming Popes and Crucifixions were horror exhibits. His work look less blood-curdling – and more sumptuous, energetic, swish, playful, even jolly. “I thought I would work there for a couple of months before I discovered exactly what I wanted to do,” Wojas said. Michael Wojas was born in Edgware, North London, in 1956 and was educated at Haberdashers’ Aske’s School and then Nottingham University where he read chemistry.

The curators of the exposition are Anna Coliva, director of the Galleria, and Michael Peppiatt, a biographer, intimate friend, and leading connoisseur of Francis Bacon. It reaches for a shock value that has nothing to do with the lurid sadism that will hover around it. It is the shock of the human body from whose depiction all trace of both classical ideals and romantic heroism has been stripped. Contorted in an agony or an ecstasy that are indistinguishable from each other, it becomes again shockingly beautiful. In the complicity that great art enforces we, too, end up deriving pleasure from this pain.

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By constant reference back to it Bacon was able to maintain some crucial connection to the anger and violence that fuelled his creative process. The critic Norbert Lynton once floated the idea that Bacon may be seen as a modernist Vermeer depicting odd human activity behind the closed doorways of the home. If this is true of some of his work, it is a simple step to see how it pertains to the history of images in Bacon’s lifetime. The box camera turned images into the most accessible form of image-making.

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But Bacon’s forms – all of those snarling mouths, human stains, swirling phalluses and torrents of paint – remain caricatures that don’t have any volume, weight or tension in the plane. Bacon’s paintings of figures – floating or squirming in expanses of emptiness – rather than explore an idea about isolation, tend merely to depart the paintings feeling empty. Bacon is considered by many art-world aficionados to be one of the most vital and influential artists of the twentieth century. Since his death, museums and collectors have pushed the public sale costs for his works ever-higher.

In the Tate (which was just one oh-so-familiar museum in these days) and in every printed or exhibited survey of British art, he was always there. I am ashamed to admit that I got in order that I couldn’t even see him any more. I certainly didn’t recognize its intensity or comprehend its tough, tragic, and completely human material. Enjoy an exciting evening of live theatre in the beautiful surroundings of the Sainsbury Centre. Pip Utton’s portrayal of Francis Bacon brings to life some of the acclaimed artists of the twentieth century.

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Their creased, yellowed, fragmentary and paint-stained state makes them look more like archeological finds. The Hugh Lane Gallery’s archive is basically not Bacon’s, but a posthumous invention. Two important issues are raised by the preservation of Bacon’s studio and the survival of work that he clearly wished to be totally destroyed.

The BBC has already loaned the Tate all its archived Francis Bacon interviews and is about to repeat the train. “We are talking to Nicholas Serota. We are also working with the British Library and with the BFI.” The BBC is to do more to earn its licence fee by sharing its resources with arts institutions, its creative director, Alan Yentob, revealed yesterday. They need to consider it for a minute and stop placing up “No Photography” signs at visual art shows.

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Tales from the stables of violent equine beasts and randy stable boys have been called up as the making of the man. In 1914 his father moved to London to work in the War Office and adolescence was cut up between the two cities. He went on to become a designer and his work first hit print in the early thirties. He painted and in 1933 his first Crucifixionwas included in Herbert Read’s Art Now. His first exhibition failed and he took to gambling, which grew to become a lifelong habit, at times an addiction.

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The hosannas unleashed by the Paris retrospective climaxed in a Conaissance des Arts magazine poll that crowned Bacon the world’s best living artist—ahead of Picasso and the members of the schools of Paris and New York. Whether or not he really believed this claptrap, Bacon was useless enough and insecure enough to derive an unlimited boost from the stardom and the huge hike in his costs. Always more Francophile than Anglophile in matters of art, he was elated by the esteem of the French public as well as the intelligentsia, so elated that he rented an apartment in the Marais where he would spend much of the Nineteen Seventies. Two years later, in a pitiful try and strike back, George concealed some marijuana in Bacon’s studio and denounced him to the police.

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Francis Bacon’s was a life lived to extravagant extremes. Richardson argues that the standard of Bacon’s work declined after Dyer’s death when he started a new, more stable relationship “seemingly free of sadomasochistic overtones” with a younger man called John Edwards. Richardson is writing as a critic, not a biographer, and the official biography, which is in preparation, will give us a more rounded portrait of the man. Richardson is a distinguished art historian and, just as he did in his magisterial biography of Picasso, he can speak about Bacon with authority as a result of they were friends. But plenty of what he has written about the violent, sado-masochistic nature of Bacon’s relationships with his lovers Peter Lacy and George Dyer is already in the general public area.

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Although Bacon appeared nonplussed at the opening, he revealed the trauma brought on by this death in the dead of night triptychs he painted during the subsequent two years. Two weekends ago, I was in New York, where I’d gone particularly to view the Francis Bacon exhibition, a centenary retrospective of his work put on jointly by the Tate Britain in London, the Prado Museum in Madrid, and the Metropolitan Museum of Art in New York . Bacon’s work are few and much between – most look like in private collections – so it was a particular joy for me each time I’d encounter one in a museum or gallery, since he is considered one of my favourite painters.

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Nine years after the interview and twenty after the completion of the painting being discussed, the artist knew where to find this battered piece of paper in the chaos of his studio. The photograph has non-accidental markings – lines and blotches – that relate it closely to a number of the more crudely ‘improved’ illustrations in the Joule archive. However, there happens to be convincing proof that Bacon did in fact cling tenaciously to even the most trivial items of reference material, long after their usefulness might appear to have passed.

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Bacon’s is an art of raw energy, of skill and experience thrown at the mercy of the spontaneous. His was a singularly intense and visceral involvement with paint and process, and one contingent upon the unpredictable drama of chance and the inspired gesture. His canvasses succeed through an explosive synthesis of the image and the physical object. Francis Giacobetti entered in 1991 into an exceptional and highly productive pact with Francis Bacon. For the painter had sensed that this man, an artist whose medium was the camera, could be a worthy partner in a collaborative exploration of photographic image making.

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Unluckily, the client was a relative of the vengeful Douglas Cooper, who had bought a significant piece of Bacon’s furniture and organized for the publication of his Crucifixion in Art Now. Later, Cooper would bad-mouth Bacon in favour of his rival, Graham Sutherland, to the previous’s delight and gain. His illustrious ancestry and his sense of it may also account for his private largesse as well as his determined makes an attempt at grandiloquence, which undermine many of the later triptychs. Richardson sees these cruel relationships as central to Bacon’s work, to the purpose of arguing that there may be a direct link between them and the standard of his art. When Bacon settled with John Edwards in a relationship “less fraught for being platonic, seemingly freed from sadomasochistic overtones”, his work, Richardson claims, “lost its sting and did not thrill”. Conversely, another of Bacon’s most vital muses, George Dyer, was subjected to psychological torment and goading.

To escape the lingering odour given off by the career of Francis Bacon, you’d should be hanging from a fridge hook in an abattoir. His work of anguish and horror make many avert their faces, not so much from offensive art as from an offensive odor. Goya’s blunt, black sketches of rotting corpses hanging from bushes in the aftermath of the Napoleonic invasion strike the identical note of crossing sensory boundaries. Bacon joins Jonathan Swift as obsessed with socially aberrant smells, in Swift’s case the odor of a woman farting, in Bacon’s the sweat of a man having sex with another man. Such is the sainted renown of Bacon at home – he passes for the English Jean Genet but with no hagiographer on the order of Sartre – that each drunken careen through the low dives of Soho might be a station of the Cross.

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Against bright orange grounds that might become something of a signature, gape-mouthed furies — part human, part monster, and one per canvas — foretell postwar deprivation, rage and existential doubt. The canine of war are not going to be leashed anytime quickly; the world itself is on the cross. For nearly 50 years, until his death in 1992 at eighty two, Bacon labored the fault lines dividing abstraction and representation and sometimes pictures, where many contemporary painters from subsequent generations have staked claims of 1 kind or another. There weren’t, as I recall, too many gallery openings in Kabul under the Taliban. The wonder and appeal of art – the rationale for its durability as a form of human expression – is its mutability; its ability to satisfy an unlimited amount of demands and to be reinvented by each new era of artists. We turn to art for pleasure, for mental challenge, for stories, for mystery, for provocation.

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Theirs is a sorrowing intimacy stolen amid a gale of blue-black strokes. The faint outlines of a bed and room trace at an imagined inside, a safe, private haven. Everyone was speaking about how the artist normally known for his ugly portraits could be an astonishing colourist, every bit as difficult as Picasso, Velasquez, Matisse and plenty of photographers and filmmakers whom he took as inspiration.

Art is usually potentially disrupting, since it stirs up repressed desires that would in any other case remain dormant. Despite variations in topic or strategy, Bacon’s work tends to follow the same strident path from 1933 through 1991. Often, while strolling through the exhibit, I felt that the one best problem was that Bacon deserted his figures too soon – that he couldn’t nail them, or his own emotions about them, down. I believe that this ambivalence, fuelled by his misunderstanding of the artists he looked up to, pressured him to depend on artifice and theatrics.

Belcher opened her club in 1948 and was not often seen without a cigarette and glass in hand. She was famed for referring to all her purchasers in the feminine form. At a time when pubs were compelled to close in the afternoon, the Colony Room offered its parched guests a place to drink till the sun went down, after which some more. A Birmingham-born Jew and proud lesbian, Belcher found that the best way to keep her clientele interesting was to rent Bacon, through the medium of a wholesome tab, to ask his friends.

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In the aforementioned interview with David Sylvester, Sylvester asks Bacon about the prevalence of violence in his work. Bacon responds with a disturbing account of the ways in which, since a small baby, he had been continuously surrounded by violence and war. He ends by observing, somewhat laconically, “So I may say, maybe, I have been accustomed to always living through forms of violence.” The way he calls it “forms of violence” jumps out at me. The artist in Bacon responded to the specific experience of violence by stepping back and exploring the types of violence as such.

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There was a time when artists couldn’t admit to using photographs in this way but, as David Hockney observed in his book Hidden Knowledge, painters have usually used any and every available means to make their work, and now pictures is broadly used and accepted. One series of drawings in the Joule archive – made on top of illustrations ripped from boxing magazines courting from the late 1940s – has a direct link to a series of drawings purchased as genuine by the Tate shortly before the Joule archive emerged. These drawings, additionally made on top of illustrations ripped from boxing magazines, belonged to Paul Danquah, a friend with whom Bacon shared a flat in the early Fifties. Danquah, who later emigrated to Tangier, seems to have given them to Bacon after they were co-habiting. Additionally, a night with cleo, 777 deluxe, reels of wealth, and gold rush gus are some more of the best real money slots at casino sites.

The exhibition presents Bacon’s oeuvre whereas providing a sense of the context in which he was working, his working method and inventive influences. “The essential development was the opening of his studio and the revelation of the archive,” says Stephens of the piles of reference materials that were found in Bacon’s studio after his death. Though these supplies have helped to demystify a few of the more inscrutable elements of Bacon’s work, pulling back the curtain on the wizard also can have its drawbacks. Is really going to force me to re-evaluate about de Kooning, and significantly about Pollock).

He painted a study of a business man on the rough side of 1 canvas then threw it to 1 side, considering it inadequate. Knowing Rosser was in need of materials Bacon gave him the unwanted canvas. At this time, Rosser was living a reasonably simple lifestyle, working and living in the old Meadow Studios which was a part of Eric Von Herkomers School in Busby, Hertfordshire. This meant some nights were spent on the cold concrete floor of the studio, using the large canvas as a blanket.

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These are spots in a time of their lives, like painted portraits — a few sittings. The honesty and the seriousness with which they talk about their work is, I think, impressive, often exhilarating. The notion that Bacon was only a spontaneous creative whose work emerged effortlessly and straight into paint, is rendered “unsafe” by the exhibition, the researchers claim. Bacon’s “collusion” in such concepts has been well documented, as is his devotion to other artists who often bypassed the drawing process, similar to Picasso and Chaim Soutine.

Passionate about painting, the Dublin-born Bacon, who by no means went to art school, is taken into account one of the most influential European painters of the twentieth century. He has curated an exhibition which opens in Huddersfield on September 5 and explores the way in which post-war British painters fused abstraction and realism to color a picture of the unconscious. Six of these work will be displayed at Huddersfield Art Gallery this autumn as part of the ‘Dialogues’ series of exhibitions.

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If you think all rich Russian art collectors are in it just for the money and the standing, think again. Thirty-year-old Evgeny Lebedev is the chairman of Independent Print Ltd, which owns the London Evening Standard and the Independentnewspapers, bought since the starting of last year by his billionaire father, Alexander Lebedev. As one of the most eligible bachelors in the UK, he has been courting the actress Joely Richardson, though film and theatre come second to work and sculpture, which are his real ardour. At first look, Polish-born Wojas might have appeared an unlikely character to take over such a gregarious venue.

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Francis Bacon practically lost an eye fixed after being thrown through a glass window by his “psychopathic” lover Peter Lacy, a biographer has recounted. Richardson recalled spending a drunken night with the pair in New York in 1968, after which Dyer was found by Bacon unconscious on the hotel room floor, having washed down sleeping drugs with a bottle of whisky. “The goading worsened, the imagery intensified,” Richardson said of Bacon’s subsequent work. Francis Bacon was once thrown through a plate-glass window by an enraged lover, damaging his face so badly that his right eye had to be sewn back into place, in accordance with a biographer. Is the phrase often used, to the point of cliché), Hirst is more often hammy.

Although the curator Anna Coliva writes that the show is “not an exhibition of history”, that’s exactly what it is. But the lesson is made thrilling by the aesthetic power of the works. Mounting the triptychs with their colour-field backgrounds against momentary panels in a pink that tones not only with Bacon’s own colours but also the ceiling fresco is a perilous reminder of Bacon’s original trade as an interior decorator. Time will also be put aside at the festival on October 29 to focus on films made by college students at films colleges and art schools around the country. Goes a way to illuminating the links between the non-public and the public in Bacon’s art and world.

A whole room is given over to the show of canvases with excised sections. The effect is odd, as a result of clearly it was never intended that they would be exhibited in this way. But it permits conservator Joanna Shepard a chance to investigate Bacon’s working methods intimately, and she provides an explanatory commentary. Richardson is an unusually stern critic of Bacon – who was the topic of a Tate retrospective last year and is revered by such artists as Damien Hirst. The problem, argues Richardson, is that Bacon simply could not draw.

Art history is dead, and nothing else will replace it. Museums used to impact these lavish tastes, before Modernism’s white cubes, and still may today in much of England. Those black rectangles rather than doors and windows could probably be the work. The towering side of meat at right could probably be sculpture. The grisly, contorted nude on a couch at center might have come right off the wall.

In this picture it’s described by the round rail in the lower quarter of the image – it jogs my memory of the dock in a British court room or of a show in some fancy Fortnum & Mason type of emporium – and by the set of drawn roller blinds at the top. At least part of the claustrophobic power of Francis Bacon’s art derives from this really somewhat simple device of conjuring an enclosed space immediately behind or simply inside the floor of his pictures. It’s like a chamber ready for a ritual, or a hoop in which wrestling or bare knuckle fighting might happen, or an area. My sense is that today the gleam is off the postmodern apple. But intellectual life moves slowly, weighed down by the structures of tenure, inherited prestige, institutional inertia and so forth. There will always be room for difficult-to-understand figures, simply in order that curators and scholars who need to determine some kind of objective authority in the profoundly subjective field of art can invoke something that goes over the top of the common person.

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Study for Portrait appears to be such a working example and bears a strong resemblance to a photograph of Edwards standing in entrance of his cameras carrying a dark sweater and shirt circa 1980 that Bacon himself might have taken. The Ravarino group of drawings has a public history that’s fairly extensive, though still little known outside of Italy. There was a long-drawn out court case in Bologna concerning them which lasted from 1997 to 2004. A number of the drawings were seized and Cristiano Ravarino was accused of creating and promoting forgeries. The case concluded with an acquittal, and the seized items were then returned to their owner. The verdict amounted to a double adverse – primarily what the court mentioned, having heard a appreciable amount of evidence, was that it was inconceivable to prove that the drawings were not by Bacon.

But in a way they’re all fairly good, or they would not be getting reviewed here in the first place. They take their effects, not from Bacon’s virtuoso exploding flesh images, but from the dourer Bacons of the Fifties. As in Bacon, but more so, the figures are contained within frameworks of straight white lines.

Past the band was the reception area with a big central bar serving wine and beer, waiters serving unidentifiable-but-delicious finger meals, and beyond that a stage with a neon blue screen with ‘Bank of America’ floating over it — very futuristic. Compare these works with the distorted figures in a number of the Black Paintings like Two Old Men Eating (1821-3) and The Pilgrimage to San Isidro(1821-3). The haunting faces in the latter appear to cry out at the viewer much like the mouths that Bacon obsessed over in his work. These dark, foreboding works by Goya and Bacon seem to replicate similar existentialist visions of humanity, of a dichotomy between appearance and reality. Before you go back downstairs, take a moment to think about Goya’s bright costumbrista work (in Galleries 85 and 90-94).

Clarke honks with laughter, his broad, large-eared face creased with amusement and shakes his head. ‘He was such a b—–d.’ (Clarke is chairman of the Bacon Estate; so, he says, ‘a lot of individuals in the art world are, you know, very, very keen to be my friend’). Wivenhoe’s artistic social life was boosted in when the journalist and local resident George Gale invited the politician Edward Heath to open a Wivenhoe Arts Club, which attracted painters and writers and had its own gallery. It was not so significant in the lives of Wirth-Miller and Chopping, insists Chapman, as Denis’s assisting others similar to the primitive painter Ernie Turner to develop his talent. Then, importantly, they met the painters Cedric Morris and Arthur Lett-Haines, who had established the East Anglian School of Painting and Drawing, first at Dedham and, when that was destroyed by fire, at Benton End.

In Bacon’s age, secularity was yesterday’s news and artists painted to please themselves. Bacon’s refusal to relinquish the human figure while artists all around him turned to abstraction seemed quasi-reactionary. Surrounded by the distorted idealism of high mannerism, Caravaggio’s fidelity to the real – he transcribed every wrinkle, every hair, every frantic gesture – saw him pilloried as a radical. Following on the donation of the Studio to the Hugh Lane by John Edwards in 1998, the 7,000 plus items retrieved from the studio were archived by The Hugh Lane. Francis Bacon’s Studio has been on permanent exhibition at Dublin City Gallery The Hugh Lane since 2001. It is acknowledged as one of the most pioneering and successful realisations of preserving and displaying an artist’s studio and contents.

His commitment is to structuring the elements within his viewfinder into a picture that distils the essence of an idea. If you recognise the image above, the “smooth side” of the unique painting, perhaps have a look on the “rough side” – you might have a Bacon original on your hands. I guess it is possible to be influenced by something and never really love it. It annoys me the way in which some artists try to claim Bacon. It’s vanity to put yourself in the same sentence with him. For if it is moral to find aesthetic inspiration in humiliation, filth, illness, deformity and sadism, what, pray tell, could be immoral in the topsy-turvy world of today’s art world elites?

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Giacobetti sensed in Bacon the deep inner conflicts that were the ever-present energy source of his creativity. Through their prolonged collaboration, Giacobetti gently coaxed from the artist a strong final photo-performance. In spite of his popularity for prickly uncooperativeness, Bacon agreed to collaborate with Giacobetti on this compelling group of portraits.

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Deakin’s close-cropped mug shot of Bacon, taken in August 1952, has become the quintessential portrait of the artist, who died in 1992. A gifted but devious and unreliable photographer, who beloved gossip and pink gin and was twice fired from Vogue magazine, Deakin documented a lot of his acquaintances amongst post-war Soho’s barflies and bohemians. It was painted at the request of a curator, Yolande Clergue, who desired to create a set inspired by the Dutch’s artist’s two-year stay in Arlesa century earlier.

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S. Eliot’s ‘Sweeney Agonistes’; the rusty, mottled patch in Blood on Pavement — these surely owe a debt to the sticky crimson smear on the dead man’s face and the blood mingling with the earth in Goya’s Third of May 1808, Ms. Mena said. The feedback from David Nahmad, a Monaco-based dealer who is presumably the biggest in the world, come as art patrons reel from the collapse of the contemporary market. One of the world’s leading art dealers this week launched an astonishing attack on the modern art market, condemning the millions charged for some works as “almost fraud”. No records survive of the 1929 exhibition, but it was successful enough for Bacon to follow it up with a second one in 1930.

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British writer Michael Peppiatt first printed his extensively appreciated biography of painter Francis Bacon in 1997. Since then, he has stored abreast of everything he could find, printed and unpublished, regarding his notorious subject, who died at 82 in 1992. He was a great-great grandnephew of his namesake Lord Francis Bacon, the Elizabethan statesman, thinker and essayist. But he most well-liked to eschew talk of his blueblooded forebears and as an alternative thought of himself as a nonconformist who boldly designed his own destiny. ( ) – with its grotesque exaggerations of his nose and the luggage around his eyes – makes it obvious that he despised his own. But what is undeniably the case is that the unusual transubstantiation that occurs in Bacon – from paint to look and at least a few of the way back again – is prime to his ability to evoke human presence.

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Aged 19, his studio in South Kensington was featured in an interiors magazine in a piece entitled The 1930 Look in British Decoration. The Monday night opening of the fair was attended by thousands of wealthy collectors and clients of the Pavilion’s sponsor, Swiss private bank EFG International. Cheaper and mid-market works were the biggest sellers. I take this as licence, for this occasion only, to declare this detestable exhibition fucking dreadful.

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His prolific output included many compelling, mysterious and violent work. Shockingly and chillingly distorting the human body and placing it in mysteriously seductive cots, brutal chairs, or boxlike enclosures, Bacon created a novel visual universe where human feelings and passions were embedded inside the harsh realities of the flesh. Six months of discussions led to 27 work that comprise The Open Cage. “It’s a paradox. Although it’s a cage, there’s a sense of something opening up, that there’s a chance of freedom,” he says. Seventeen works by Bacon are featured alongside 14 work by Caravaggio, six of which, together with the Madonna with the Serpentand the Sick Bacchus, belong to the Borghese’s everlasting collection.

In the early forties he destroyed most of his work and there was no reason for anyone to think this young decorator would ever make his mark. The paintings of Francis Bacon are so confrontationally wordless of their articulations of the human plight that they seem—almost as a result—to appeal to continuous commentary and meditation . Since Bacon’s studio and its contents were moved to Dublin, and people contents at last documented and examined, a wealth of data has come to light about the artist’s processes, his working habits, his readings and his source materials. Contributors to these new perspectives on Bacon are Darren Ambrose, Rebecca Daniels, Hugh M. Davies, Marcel Finke, Martin Harrison, Andrew R. Lee, Brenda Marshall, David Alan Mellor, Joanna Russell and Brian Singer.

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The Oxford Dictionary of Art and Artists, whereas calling him “most likely the most famous and controversial British artist of his generation,” attributed his success to his “aptitude for self-publicity” somewhat than to his work. The Wallace setting emphasises Old Master vanitas resonance – the works hang in two long, blue-silk-lined rooms, open in order that the most luminous canvas, Floating Skull, looks straight down to Poussin’s Dance to the Music of Time. Ultimately, the absence of a few masterpieces doesn’t matter.

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Is Bernard’s masterpiece, and I am satisfied it’s a close copy of the contents of Bacon’s mind. Images of violence, atrocity, torture, ripped human bodies and the swastika float through this infinite, harrowing book, just as they float across Bacon’s canvases. Schjeldahl makes about pretty much as good a case against Bacon as could presumably be made, and I disagree with it, and I’ll try to say why. He gives Bacon generous credit for anticipating the revival of narrative painting of the last decade or so, and specifically its reliance on photography and reproductions as a rich source of material. One might, I hope, refuse to simply accept revulsion—or Bacon’s life—as a given for homosexuality. He may have hated himself, but he knew what he was doing.

I may be fussier in my mind about what succeeds and what doesn’t now, but I stay in awe of that early union of Bacon’s imagery and my own teenage starvation for optimum impact. Artists are typically judged by their influence on other artists. Unfortunately, we’d be hard put to provide you with any painter influenced by Bacon — except perhaps his friend, the older and really dreary Graham Sutherland. That artist’s signature thorn-forms were clearly a reference to you-know-whose crown of thorns, but only under Bacon’s influence did Sutherland attempt a crucifixion or two.

If Bacon didn’t create this body of fabric, who did? The Joule sheets appear to cover too long a period, by way of the paintings they relate to, to be the work of considered one of Bacon’s successive live-in lovers, similar to Peter Lacy or George Dyer. And what motivation would both of these have had to make them? Probably no-one else had sufficiently continuous access to Bacon’s intently guarded studio. Dyer, the only even remotely likely candidate amongst Bacon’s male lovers, was an unintelligent, uneducated drunk, notoriously disorganized, and any such activity on his part would soon have become known to Bacon’s entourage.

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The torrid and extraordinary life of certainly one of England’s most brilliant artists will be brought to life in Norwich. Years ago, for example, I was with my sister, who had always struggled with psychological sickness. We were spending the afternoon doing the galleries in New York and strolled into a show of Bacon’s work at the Marlborough Gallery. She took one look at the work and said, “I can’t take this. I’ll wait outdoors.” (She stepped exterior and instantly lit a cigarette.) I’d be the first one to admit that you simply don’t have to have mental-illness problems to empathize with my sister’s reaction. Yentob adds that much of this change in perspective at the BBC would have happened without the credit crunch, but that the corporation’s “powerful legacy” is particularly helpful now.

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As Roberta Smith notes, the Young British Artists are incomprehensible without him. For Tracy Emin, her complete life is about sex in the meat market. And then Martin Kippenberger ends his short career with self-portraits after Picasso. Where Picasso looks quizzical, weary, or jaunty, Kippenberger seems simply in ruins—like a head by Bacon. A magazine profile evokes the psychic drama of Bacon’s homosexuality. It additionally describes the art as “cartoonish” and the late work as worthless.

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