Bacon was notoriously elusive, meticulously guarding his artistic methods. Contemporary critical studies have shed light on his preference for photography over live models, a choice presumably driven by his discomfort with raw intimacy. The exhibition is littered with these photographs which provide a well appreciated respite from the grizzly images of his paintbrush.
Human Presence reveals a thorough study of Bacon’s methods, showcasing his enthusiasm for radically reinterpreting sources to create his signature studies that seem to be flipped inside out. This approach underscores Bacon’s commitment to capturing the essence of his subjects through a lens that distorts and reimagines reality, offering viewers a unique perspective on human emotion and presence.
The exhibition opens with Bacon’s seminal papal studies—works that mark his pivotal reimagining of Diego Velázquez’s portrait of “Pope Innocent X.” These chalky spectre-images incorporate elements from Sergei Eisenstein’s classic 1925 film Battleship Potemkin, superimposing them onto the original Baroque masterpiece. The resulting images are nihilist and haunting, transforming the once dignified Pope into a screaming banshee seized by the convulsions of an involuntary psychosis. Curator Rosie Broadley suggests that Bacon frequently employed this pictorial language, blending contemporary references with art historical iconography to create layers of meaning that resonate with both modern and classical audiences.
Bacon possessed an innate ability to portray his subjects as though they were being observed behind closed doors, imbuing his portraits with a sense of intimacy and vulnerability. Among his subjects, the portraits of his compatriots hold the most humanity. His muses were the pillars of his bohemian circle: a fighter pilot, a thief, and the owner of the infamous Colony Club—these were the most present in his life and perhaps the most human. Yet, the muted settings in which he places his figures reflect a sense of abandonment or pessimistic rejection, as though the subjects are entirely alone.
Bacon was often labeled himself as a philistine in everything other then art, and he was one of the few artists of his time equipped to confront the post-war period because of it. His organic forms and distorted figures compel viewers to reinterpret humanity, challenging conventional perceptions of beauty and emotion. Bacon once stated, “A painting creates a sensation within me that returns me to life more violently.” This visceral connection between artist and viewer underscores the intense emotional landscapes he navigated through his work.
Francis Bacon: Human Presence is a testament to Bacon’s enduring legacy and his unparalleled ability to capture the fragmented, often tumultuous nature of human existence. Through Human Presence, visitors are invited to engage with Bacon’s relentless exploration of existence and identity.
The exhibition Francis Bacon: Human Presence will be on view at the National Portrait Gallery from October 10, 2024, to January 19, 2025.
All Images via Art Observed.
– J. Gataaura
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