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Interviews with Francis Bacon, by David Sylvester
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Nine interviews with Francis Bacon spanning over twenty years from 1962 to 1986 which give invaluable insight into the creative mind of one of the twentieth century’s greatest artists
Since its first publication, this book―with its subsequent revised and augmented editions―has been considered a classic of its kind. As a discussion of the problems of making art it has been widely influential, not only among artists but among writers and musicians. It has also been seen as the most revealing portrait that exists of one of the most singular artistic personalities of our time.
Bacon’s obsessive thinking about how to remake the human form in paint finds unique expression in his encounters with the distinguished art writer David Sylvester over a period of twenty-five years. In these masterfully and creatively reconstructed interviews, Sylvester provided unparalleled access to the thought, work, and life of one of the creative geniuses of the twentieth century.
146 illustrations- Sales Rank: #615717 in Books
- Brand: Sylvester David
- Published on: 2016-11-15
- Released on: 2016-11-15
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .90" w x 6.20" l, .0 pounds
- Binding: Paperback
- 208 pages
- Interviews with Francis Bacon
Most helpful customer reviews
3 of 4 people found the following review helpful.
The Brutality of Bacon
By meeah
I was always given to understand that Francis Bacon was notoriously closed-mouthed, especially when it came to his painting technique, unwilling to disclose the origin and meaning of his mysterious and disturbing images. This collection of interviews, however, totally belies that notion, wherever I might have acquired it.
"The Brutality of Fact" is a rich treasure trove gleaned from a series of discussions between the master artist and one of his most perceptive and sympathetic critics. Obviously, this book will therefore be invaluable to those who appreciate Bacon's work, but it is equally invaluable to anyone interested in art, art theory, and the creative process in general.
As an interlocutor, David Sylvester asks the questions you'd want asked; for his part, Bacon is as forthright and forthcoming in answering them as you could hope him to be.
From the images and artists that obsess him to the way he "throws" paint and rubs out images, from the role of chance in both his work and his life to the way he manipulates the accidents he encourages, Bacon seems to be holding nothing back. He speaks plainly of his goal as an artist and what he feels to be the goal of every serious artist: to rework reality by artificial means to create a new vision of the world truer and more intense than anything ever seen before. And he offers an insightful and incisive critique of what he perceives to be the shortcomings of abstract art, which eschews the world of objects altogether, and illustrative realism, which is simply redundant in an era with ample means of mechanical reproduction. His discussion of these two extreme attitudes towards the phenomenal world and his explanation of the way his own art seeks to mediate between the two are in themselves worth the price and time this book costs you to read.
One of the best books by or about an artist that I've ever read, I found myself underlining passage after passage for future reference and inspiration. I don't think it too much to say that "The Brutality of Fact" amounts to a mini-course in modern art by one of it's most profoundly committed and surprisingly eloquent practitioners--a book that will open your eyes in more ways than one.
9 of 9 people found the following review helpful.
Still one of the most fascinating books on the nature of creativity ever published.
By O.D. Jones
This is the most recent and expanded edition of the book, which by now has become a classic work that really transcends the "interview with a famous artist" label. I own an earlier edition of the book that I have virtually memorized, so the new additions and expansions David Sylvester has included stand out for me, and amplify the original edition considerably. Whether or not you are a fan of Francis Bacon's painting, the book offers Bacon's insights (as well as Sylvester's) on the very nature of creativity, obsession, and what drives artists of any kind (painter, poet, composer, etc.) to devote their lives to their chosen pursuits. Plus, Bacon's rather sulphurous personality and opinions are captured vividly on the page, through Sylvester's obvious freindship and fascination with the man. An absolutely essential, and rather unique book...over the years, I have been amazed at how many people I have met, from all areas of the arts, who have found this work a source of inspiration and endless fascination.
32 of 33 people found the following review helpful.
Invaluable Chronicle of a Tortured Artist
By John Hovig
"Interviews with Francis Bacon" (1987) captures remarkably on paper the tortured mind of the famous British painter (1909-1992). It belongs on the shelf of every Bacon fan and artist, regardless of medium. Nine interviews range from 1962 to 1986, Bacon's fifties through his seventies, in the form of interactive conversations with art historian David Sylvester (British, 1924-2001), ranging from Bacon's frustrated youth to his unique artistic techniques, the meaning of art to the meaning of life. Sylvester cleverly steers toward topics Bacon finds interesting, allowing him to discuss them at length. (Some of the original audio may be sampled at BBC4's website, though this book's text was heavily edited and re-manipulated from those recordings.)
The final chapter is the most biographical. Bacon, 77, recaps his life and career in detail, including his "coming out," at a time homosexuality was illegal in Britain, the relationship with his intolerant father coming to an end as a result. Overall, the book forms a clear portrait of an intellectually restless artist, demonized by the struggle to express satisfactorily the horrific images which constantly stream into his head. There is no overarching structure to the book, thus many interviews cover the same ground different ways, with illuminating results. Bacon's answers usually reinforce or embellish what was said earlier, but he sometimes answers the same question differently over time, demonstrated for example by his increasing dislike for "drink and drugs."
Some themes persist throughout. Chronically anxious and hypertensive, he can never sit still, never relax. Not religious, Bacon believes "man is an accident, a futile being, he must play out the game without reason," and life has only whatever meaning we give it, yet his haunted soul clearly identifies with the tragedy of the Crucifixion, which he considers the perfect narrative of the mythic "tragic hero," and the ultimate symbol of human devotion despite life's vicissitudes. (One famous Bacon work metaphorically depicts a hypodermic syringe stuck into the subject's arm, representing a nail stuck into the hand). He is similarly affected by the open-mouthed cry of human agony, which he expresses in perhaps his most famous and retold obsession, the many horrifying studies of Velazquez's portrait of Pope Innocent X.
Too human, he is concerned with posterity, and denies himself the comfort of calling himself a "painter." He believes an artist must "solve the problem" of art to be a success, which to him means they must render the known through the unknown, or create the "illustrative" and "narrative" through the use of the "irrational." Discussing Picasso in this light, he says he finds surrealism "more real" than realism, probably meaning he finds surrealism more directly communicates the human condition. He also believes strongly in figuration, slaying abstract art with one devastating word: "Fashion!" He seems burdened by a lack of proper training, having started his career as an interior designer, especially when discussing the trials of his studio work, describing the way he tosses paint at the canvas, the way he tries not to work a canvas too much, potentially ruining it, and the conflicted feelings he holds toward works he has already painted, or those he is still painting.
The book usefully reproduces many works in small black-and-white images at times when the conversation turns to them, both Bacon's works and those of others, like Picasso and Rembrandt. The lack of color is entirely unnoticed, as the book focuses on the artist's psychology and opinion, which these plates illustrate perfectly. (Full-color reproduction would probably also have made the book needlessly expensive). Most remarkably, of all the photographs and self-portraits in the book, Bacon never looks directly at the viewer, illustrating most strikingly his natural over-sensitivity and tortured self-denial.
Bacon has said "art is completely a game by which man distracts himself," and "the artist must really deepen the game in order to be worth anything at all." If anyone feels Bacon "played the game" well, and "distracts" successfully his audience, or that he was "worth anything at all," then this book belongs in that person's library.
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