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• Published on: 2008
• Binding: Paperback

[ The New Atlantis By Bacon, Francis ( Author ) Paperback 2008 ]

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1 of 5 people found the following review helpful.
Francis Bacon
By K. R. Failoni
the book is great, got here on time and price was good. francis bacon is a awsome artist and certainly touches you profoundly.

24 of 26 people found the following review helpful.
A great artist, an average (sometimes pretentious) book
By Reich Claude
This is the catalogue for the current exhibition held at the Tate Gallery in London, which will later go to the Prado in Madrid and to the Met in NYC.The book starts with six essays that, in a way, sum up about everything that has been written or said about Bacon over the last fifty years.The first, entitled "On the Margin of the impossible", attempts to show how Bacon's ambition (which was to finish either "at the National Gallery or in the dustbin")and creative process (towards paintings that are neither abstract nor figurative but hover between both forms of art to reach a new, deeper reality), make him difficult to pigeonhole in a classical history of movements in modern art.The second essay dwells on the artist's critical reception during and after his lifetime and shows how European critics were quick to grasp the importance of his art, whereas Americans were much slower (Bacon's reputation in the US only started to grow in the 1960's, even though the Moma had been the first museum to buy one of his paintings in 1946). Over the years, the names of John Russell, David Sylvester, Michel Leiris, Gilles Deleuze, Michael Peppiatt, all stand out as major proponents of Bacon's art.The third essay studies Bacon's paintings as such, emphasizing the problems of interpretating them, explaining their sources and stressing the importance of chance (or what Deleuze and Bacon himself used to call "the accident").The fourth essay dwells on the importance of film (whether fiction or historical documentary) in Bacon's work.The fifth essay studies the importance of male and physique magazines as source and inspirational material and, in this respect,draws a comparison between Bacon's and Keith Vaughan's art, both artists (without knowing each other personally)showing many common traits (in their biography, the relationship they had with their respective lovers, etc). The last essay specifically deals with Bacon's iconography, the sources and references that abound in all his paintings, most of them discovered in his studio at the time of his death and which have prompted a complete reassessment of his oeuvre.After this quite cumbersome start comes the exhibition catalogue itself, divided into eight themes (like "crucifixion", "portrait", "zone", "apprehension", "crisis", etc), each one gathering a group of paintings around it.On the whole, this book is sometimes interesting to read (and sometimes less so, the fifth essay in particular does not add much to the literature on the artist) but disappointing in terms of the quality of the illustrations. All the paintings are reproduced in color, but with very few close-ups of details, the reader cannot distinguish Bacon's technique and brushstrokes.I own more than 20 books on Bacon, and this one qualifies as average, both for the text and the images.

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