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Francis Bacon – Luck, Accidents and Changing Images

Painting 1946

From Interviews with Francis Bacon
DS David Sylvester – FB Francis Bacon

Pg 11

FB…one of the pictures I did in 1946, the one like a butcher’s shop, came to me as an accident. I was attempting to make a bird alighting in a field. And it may have been bound up in some way with the other three forms that had gone before (Three Studies for Figures at the Base of a Crucifixion 1944), but suddenly the lines that I’d drawn suggested something totally different, and out of this suggestion arose this picture. I had no intention to do this picture; I never thought of it in that way. It was like a continuous accident on top of another

Three Studies for Figures at the Base of a Crucifixion c.1944 Francis Bacon 1909-1992 Presented by Eric Hall 1953 http://www.tate.org.uk/art/work/N06171

Three Studies for Figures at the Base of a Crucifixion c.1944 Francis Bacon 1909-1992 Presented by Eric Hall 1953 http://www.tate.org.uk/art/work/N06171

DS Did the bird alighting suggest an umbrella or what?

FB It suddenly suggested an opening-up into another area of feeling altogether. And then I made these things, I gradually made them. So that I don’t think the bird suggested the umbrella; it suddenly suggested the whole image. And I carried it out very quickly, in about three or four days.

DS It often happens, does it, this transformation of the image in the course of working?

FB It does, but now I always hope it will arrive more positively. Now I feel that I want to do very, very specific objects, though made of something which is completely irrational from the point of view of being an illustration. I want to do very specific things like portraits, and they will be portraits of the people, but, when you come to analyse them, you just don’t know – or it would be very hard to see – how the image was made up at all. And this is why in a way it is very wearing, because it is really a complete accident.

Portraits-Bacon

DS An accident in what sense?

FB Because I don’t know how the form can be made. For instance, the other day I painted a head of Somebody, and what made the sockets of the eyes, the nose, the mouth were, when you analysed them, just forms which had nothing to do with eyes, nose, mouth; but the paint moving from one contour into another made a likeness of this person I was trying to paint. I stopped; I thought for a moment I’d got something much nearer to what I want. Then the next day I tried to take it further and tried to make it more poignant, more near, and I lost the image completely. Because this image is a kind of tightrope walk between what is called figurative painting and abstraction…It’s an attempt to bring the figurative thing up onto the nervous system more violently and more poignantly.

Interviews with Francis Bacon
By David Sylvester
Thames and Hudson
Reprinted 2008
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