Francis Bacon, ‘Étude pour une corrida (after Study for a Bullfight No. 1, 1969)’, 1971, Phillips

Image: 50 x 45 1/4 in. (127 x 114.9 cm)
Sheet: 62 7/8 x 47 1/4 in. (159.7 x 120 cm)

Signed in black felt-tip pen (slightly faded) and numbered 115/150 in pencil (there were no known artist's proofs), published by the Musée du Grand Palais, Paris, for the retrospective of 1971, framed.

Bruno Sabatier 10
Alexandre Tacou 2

About Francis Bacon

Francis Bacon was a dominant figure of postwar art, and his canvases remain unmistakable for their contorted emotion and visceral physicality. “I would like my pictures to look as if a human being had passed between them, like a snail leaving its trail of the human presence... as a snail leaves its slime,” he once said. Among his signature motifs were screaming and disfigured heads, grappling homosexual lovers, and flanks of meat, and his style is characterized by its flat backgrounds and sense of motion, derived from the frequent use of photography and film stills as sources for portraiture. Mostly self-taught, Bacon nonetheless drew influence from an impossibly wide range of artists, from Vincent van Gogh, Eadweard Muybridge, and filmmaker Sergei Eisenstein, to Rembrandt, Masaccio, Titian, and especially Diego Velázquez, making explicit visual references to many of their works in his paintings. His lasting influence can be seen in particular among Young British Artists such as Damien Hirst, Jenny Saville, and Jake and Dinos Chapman.

British, 1909-1992, Dublin, Ireland