In Camera: Francis Bacon, Photography, Film and the Practice of Painting
Description
In Camera, a bravura accomplishment of original research, reveals how these new media informed some of Bacon’s most important paintings and triggered decisive turning-points in his stylistic development.
Details
Publisher:
London: Thames & Hudson
Year:
2005
Language: English
Pages: 256
ISBN/ISSN: 9780500238202
Paintings
29-01 'Watercolour', 1929; p. 23
30-02 'Painting', 1930; p. 23
33-01 Crucifixion, 1933; pp. 19-21, 28, 34; ill. No. 15, p. 18; No. 16, p. 19 (b&w)
33-03 The Crucifixion, 1933; p. 21; ill. No. 28, p. 29
33-04 Composition (Figure), 1933; ill. No. 14, p. 16
35-01 Figures in a Garden, 1935; pp. 34-36, 47, 218 (dated '1936'); ill. No. 35, p. 37 (dated '1936')
36-01 Studio Interior, 1936; pp. 34, 109; ill. No. 34, p. 35
44-01 Three Studies for Figures at the Base of a Crucifixion, 1944; pp. 7, 10, 34, 39-46, 115, 124, 155, 212, 218, 226, 237; ill. No. 36, p. 38-39; No. 42, p. 43 (left panel)
45-01 Man in a Cap, 1945; p. 38 (dated '1941-42?'), 237
45-02 Seated Man, 1945; p. 38 (dated '1941-42?')
45-03 Man Standing, 1945; p. 38 (dated '1941-42?'), 237
45-05 Figure in a Landscape, 1945; pp. 7, 23, 44, 50, 78, 105, 220, 226; ill. No. 43, p. 45
46-01 Figure Study I, 1945 - 1946; pp. 49, 92, 125; ill. No. 126, p. 125
46-02 Figure Study II, 1945 - 1946; pp. 49, 50, 92, 125, 226; ill. No. 250, p. 226
46-03 Painting 1946, 1946; pp. 23, 39, 49-50, 104, 122, 154, 161, 220; ill. No. 47, p. 51
46-04 Landscape with Car, 1945 - 1946; p. 125 (refers to earlier iteration, 'Figure Getting out of Car')
48-01 Head I, 1948; pp. 44, 226, 241
49-01 Head II, 1949; pp. 105-106; ill. No. 102, p. 105
49-02 Head III, 1949; p. 200
49-07 Head VI, 1949; pp. 61, 92, 96; ill. No. 86, p. 91
49-08 Study from the Human Body, 1949; pp. 92, 98, 102; ill. No. 263, p. 244
49-09 Study for a Portrait, 1949; p. 208; ill. No. 235, unpaged
50-02 Fragment of a Crucifixion, 1950; pp. 105, 204, 218; ill. No. 240, p. 218
50-04 Study after Velázquez, 1950; pp. 102, 200, 208; ill. No. 101, p. 103
50-06 Painting, 1950; pp. 98-104, 226; ill. No. 97, p. 101
51-01 Figure with Monkey, 1951; p. 200
51-05 Pope I, 1951; ill. No. 238, p. 216 (dated '1952')
51-07D Pope III, 1951; pp. 61, 92, 96
51-08 'Crouching Nude', 1951; pp. 98, 102-104, 200 (titled 'Study for Nude Figures', dated 'c. 1950'); ill. No. 94, p. 99 (titled 'Study for Nude Figures', dated 'c. 1950')
52-03 Dog, 1952; ill. No. 232, p. 209 (titled 'Study of a Dog')
52-09 Study for a Portrait, 1952; p. 102
52-22 'Marching Figures', 1952; p. 10 (titled 'Untitled (Marching Figures)', dated 'c. 1950'); ill. No. 9, p. 13 (titled 'Untitled (Marching Figures)', dated 'c. 1950')
53-02 Study after Velázquez's Portrait of Pope Innocent X, 1953; p. 83; ill. No. 239, p. 216
53-15 Sphinx I, 1953; pp. 103, 226; ill. No. 252, p. 227
53-23 Three Studies of the Human Head, 1953; pp. 62, 240; ill. No. 57, p. 62-63
53-24 Two Figures, 1953; ill. No. 3, p. 6
53-28 The End of the Line, 1953; p. 132; ill. No. 132, p. 131
54-03 Study of a Figure, 1954; p. 133
54-04 Seated Figure, 1954; p. 133
54-05 Man in Blue I, 1954; p. 106
54-06 Man in Blue II, 1954; p. 106
54-07 Man in Blue III, 1954; p. 106
54-08 Man in Blue IV, 1954; p. 106; ill. No. 104, p. 107
54-09 Man in Blue V, 1954; p. 106
54-10 Man in Blue VI, 1954; p. 106