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In the spring and summer ofthe Fondation Beyeler will be presenting two extraordinary protagonists of modern art. Alberto Giacometti — and Francis Bacon — were friends and rivals whose creative visions shaped art from the latter half of the twentieth century to the present day. This is the first time that a museum exhibition is being devoted to shedding light on these two artists and their relationship to each other. Although their respective artistic oeuvres differ greatly at first glance and appear autonomous, the exhibition reveals commonalities and amazing parallels between them.
Presented together, their lives and creative personalities will be seen a new light. T he individualists Giacometti and Bacon perceived each other like signal emitting lighthouses. Bacon and Giacometti shared an unshakable belief in the importance of the human figure and the role played by the old masters they both studied, copied and paraphrased.
Both were interested in the problem of the two-dimensional and three-dimensional representation of space, integrating cage-like entities into their works as a means of isolating figures in their surroundings.
Both occupied themselves with the fragmented and deformed body and also shared revelavo obsession with portraiture in addition to the associated depiction of human individuality. And although the human ayrtob always served as a benchmark in their work, they each raised its level of abstraction to an extreme in his own way. By doing so, they called the antithesis of figuration and abstraction into question that was of such central importance for the history of modern art.
The painter Isabel Rawsthorne played a key role in the relationship between Giacometti and Bacon. She posed for both and also served as their muse.
Like Giacometti and Bacon, she was also fascinated by the abysses of the human character. The dark sides of sexuality, loneliness and melancholy, the tendency towards excesses: Giacometti and Bacon exude a fascination that not only comes together in the person reveladi Rawsthorne but also has a much revelsdo far-reaching impact. Their very small and ayrtom studios were very special places for Bacon and Giacometti; chaotic spaces from which great art emerged.
It has been possible to obtain loans of works by Francis Bacon from major private collections and renowned museums from around the world, including the Art Institute in Chicago, the Museum of Modern Art, New York and the Centre Pompidou, Paris. The Giacometti loans come almost entirely from the Fondation Giacometti in Paris. Alberto Giacometti and Francis Bacon.
The Fondation Beyeler is open daily, also on public holidays, from 10am to 6pm and on Wednesday from 10am to 8pm. Artist who sketched some of the greatest cultural figures of the 20th century including Benjamin Britten, TS Eliot and Barbara Hepworth. Francis Bacon, drypoint and monotype,by Milein Cosman. Milein Cosman, who has died aged 96, drew many of the greatest artistic names of the 20th century. She drew primarily from life, and her subjects were mostly artists of various kinds, and above all musicians.
Into this she was led by a love of music, but also by her almost year-long collaboration with her Viennese husband, the musician, musicologist and broadcaster Hans Keller. Their book Stravinsky at Rehearsalwhich combined his words with her drawings, is a classic of a genre they largely devised themselves; he analysed the music, while she captured the musicians in the midst of its creation.
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She worked extraordinarily swiftly, saying: If I draw slowly, I almost always get it wrong. I think all the Stravinsky sketches were done in one day. Yes, it must be said, that really a lot of people have quite wonderful faces.
In she followed her brother, who was already installed in Scotland, to Britain.
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Refugee was ayrtoh the only label she refused to accept. After she gained entry to the Slade School of Fine Art — by turning up in person with her portfolio — she lived in a leaky garret behind the Ashmolean museum, Oxford, where the Slade was evacuated for the duration of the war. She supported herself by delivering milk with a pony and trap and teaching French at a convent school.
This was the first lithograph Milein made, and demonstrated her ability to get under the skin of her subjects, to perceive more than perhaps they were aware of exposing. While at Oxford, she met a constellation of musicians, artists and writers.
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He was not the ervelado poet to be struck by the tiny, lively-minded woman with birdlike movements and sharp intelligence. Milein moved to London at the end of the war, where she worked as an illustrator and began to submit sketches to magazines and newspapers. She had the face of a Flemish Madonna. Inwhile working on a commission, she met Keller, who heeri her most frequent subject; his keenly angular, impish face adorned the small spaces of wall between the vast living-room windows of the Hampstead house which they bought in the s, and where Milein stayed on alone after his death in With its unfolding rooms — French windows and a kitchen verandah giving on to a long hfri garden scattered with fruit trees — it had a German ambience often enhanced by the aroma of fresh poppyseed cake wafting through the open-plan modernist interior.
As a sideline she devised a series of animals to which she added ludic descriptions: In she established the Cosman Keller Art and Music Trust to support education in these fields, and to preserve her work and that of her husband.
It has recently bequeathed her drawings aydton prints of musicians to the Royal College of Music in London, drawings and prints of dancers revlado Salzburg University and a selection of drawings and prints to the arts academy in Berlin.
An exhibition of her work is due to be held at Clare Hall, Cambridge, in As she yarton, swiftly sketching a young child who came to her annual apple-picking party in Milein is survived by three nieces and a nephew. Milein Cosman, artist, born 31 March ; died 21 November Milein Cosman at the opening of her exhibition in London in Francis Bacon – Portrait This landmark exhibition of paintings opens in London at the end of February It ehri since remained in private hands and has not been exhibited for over half a century.
The portrait shows an anxious looking, bare-chested image of a human figure, curled up in the corner of a darkened room, partly illuminated by a single light bulb.
The portrait was over six feet high and was originally part of a three-piece panel, which the artist later made into three separate paintings. The portrait, aytton exhibited inshows a scowling face of Peter, seated nude with all his internal organs bursting through his skin.
The sell-through rate was an impressive While neither work had ever before been offered at auction, they both failed to capture the interest of the salesroom. Both were subject to third-party guarantees. Here tonight, there was nothing that came close to that Basquiat in terms of price or excitement. But after a throat-clearing stretch of 24 works from the Diamonstein-Spielvogel Collection—nearly all low-priced work on paper—the sale began in earnest with an untitled work by Laura Owens, who has a wildly acclaimed show that refelado opened at the Whitney Museum in New York.
The work was only seen in public shortly after it was completed — firstly in London in and then her Hamburg and Stockholm in Bacon and Freud had a deep and complex friendship and were often viewed revdlado artistic rivals. The portrait that will be shown at Tate Britain next year is an angst-ridden image of the human figure, bare-chested and curled into the corner of a dark room beneath a single lightbulb.
The painting stands over six feet high and was originally part of a triptych which Bacon then split into separate works. It shows him seated with a scowling expression and is the first time Bacon portrayed the nude body with its internal organs on display, seemingly bursting through the surface of its skin.
An extraordinary Bacon triptych fromon loan from a private collection, will also be exhibited for the first time in a UK public gallery in over 30 years.
This major exhibition will celebrate how artists have captured the intense experience of life in paint, portraying personal and immediate experiences. The painters had a deep and complex friendship, and were often seen as rivals. The painting, now in private hands, was originally part of a triptych which Bacon then split into separate works.
It will also examine the role of women artists in the traditionally male-dominated field of figurative painting. Tate Britain director Alex Farquharson said: Optimism abounds heading into November auctions. Discretionary sellers gain confidence in the market and Christie’s leads its contemporary sale with a year old Leonardo di Vinci. But recent overreaches sound a cautionary note.
After encouraging results in London in October, the auction houses are approaching their key November sales of Impressionist and Modern and contemporary art with optimism.
Contemporary evening sale, 16 November.
On the contemporary side, Sotheby’s is offering a Francis Bacon triptych of George Dyer, one of five extant and one of three in private hands, bought by the consignor inthe year after it was painted. What to expect from New York’s November auctions. These major sales will dominate opinion on the market’s health as a whole. There are several juicy offerings this year, again squeezed into one week Novemberso the formula must have worked.
Marlborough Fine Art Ltd. Recent Paintings, November — Apriln. Full Face and revelad ProfileNew York,p. Portraits and Self-PortraitsLondon,p. Three Studies of George Dyer, Invariably painted on relatively small, 14 x 12 inch canvasses, he produced these subjects as single panels and diptychs, as well as triptychs.
In contrast to the large canvasses, in which the spatial settings and more complex pictorial schemas of full-length figures afforded greater scope for variation, ayton portraits are remarkably consistent in their formal conception. The answer would appear to be as unfashionable, in art-historical terms, as the notion of a qualitative hierarchy: This is manifestly true of the paintings gevelado Peter Lacy, made between andand those of George Dyer painted from to With virtually no conventional training, Bacon was forced to invent a technical repertory attuned to his expression.
This is often characterised as painting in a thick impasto, but he developed a much more elaborate range than that.
Bacon sought immediacy — he was keenly aware that boredom of execution would translate as apathy in the mind of the beholder: The grounds of each panel are rich in linseed oil, dense black voids that, contradictorily, also oscillate with light reflected from their textured surfaces.
The paint is applied in rapid, enervated sweeps, in ayryon strokes of ayrhon, mixed colors, flicked from the wrist, that arton obliterate the hot skin tone. Arbitrary patches of coagulated black paint have been impressed with a variety of fabrics — to form a textured substance that is a classic Bacon anti-illustrational shorthand device.
The outer panels, which vibrate with the restless motion of the paint, flank a pitiless frontal view of Dyer. Bacon was motivated to paint by love however elusive or transitory and sex, which were underpinned by a personal philosophy that can be partly defined as anti-religious, nihilistic, Nietzschean.
And he was resolute about being a great artist: