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Luigi Ficacci
Bacon
Taschen (20 octobre 2003)
Reference : lc_5552
Cartonné, comme neuf
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M. Alexandre Bachmann
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5 book(s) with the same title
[Françis Bacon] - BACON, Francis - David Sylvester, Michel Leiris.
Reference : 972-B
(1966)
DERRIÈRE LE MIROIR N° 162. FRANCIS BACON. Novembre 1966. TIRAGE DE LUXE SUR RIVES.
Paris, Maeght éditeur, 1966. In-folio (382 x 282 mm) en feuilles, 34 pages. 5 LITHOGRAPHIES EN COULEURS d'après les peintures de Francis Bacon. 8 reproductions en couleurs dont 1 triptyque en triple page, 5 reproductions en noir. Texte de Michel Leiris et interview de Francis Bacon par David Sylvester. 1 DES 150 EXEMPLAIRES SUR VÉLIN DE RIVES, Celui-ci n° 15. Magnifique numéro avec un très beau travail de lithographie d'interprétation. Parfait état. — LIMITED EDITION ISSUE, ONE OF ONLY 150 COPIES numbered on Vélin de Rives, this one n° 15. Dedicated to Francis Bacon and complete with five single-sheet color lithographs and one fold-out color triptych by Bacon. Published in 1966 for the exhibition of 17 paintings at the Galerie Maeght. Text by Michel Leiris and interview with Francis Bacon by David Sylvester. In addition to the lithographs, the volume contains several color and black and white illustrations of Bacon's work. Folio, loose sheets in original pictorial wrappers, as issued, original green cardboard box and chemise. The book and the slipcase are in perfect condition. A real beautiful copy.
Exemplaire du tirage de luxe sous étui-chemise original à l'état de neuf. L'ouvrage parfait et l'emboitage avec une très légère décoloration du dos de la chemise comme habituellement. Note : la mise en page diffère considérablement du tirage ordinaire de la revue. Très rare condition. The book and the slipcase are in perfect condition.
Bacon Moore. Flesh and Bone.
, Antique Collectors' Club, Size: 280 mm x 220 mm. Pages: 160. Illustrations: 140 colour. Hardback. New. ISBN 9781851497478.
In their different mediums, Henry Moore (1898-1986) and Francis Bacon (1909-1992) created unforgettable images of the human figure. The distinctive visual languages that each artist developed over more than half a century were marked by a growing simplicity and monumentality of form. Their perspective differed: Moore clung to a belief in humanism, while Bacon espoused a post-humanist, nihilistic view of the world. In expressing their visions of humanity, the two artists had very different approaches: Bacon working from the outside in, disintegrating and dissolving form; Moore from the inside out, pushing anatomical structure to the surface. If Bacon's images suggest flux, chance, and the arbitrariness of existence, Moore's sculptures have been interpreted as universal symbols of strength and endurance.Bacon and Moore first exhibited together in a group exhibition at the Lefevre Gallery in London in which Bacon showed his Three Studies for Figures, at the Base of a Crucifixion (1944), propelling him into the limelight for the first time. Moore showed two sculptures from the1930s and fourteen wartime drawings, some of which anticipate the theme (though not the savage imagery) of Bacon's triptych.Exhibiting together in a commercial gallery was repeated twice in the 1960s, when Moore and Bacon were both represented by Marlborough Fine Art. These joint shows, extensively reviewed in the press, gave critics a chance to compare the artists' radical approaches to the human figure, which were seen as complementary rather than conflicting. Fifty years later, this publication once again brings their work into direct comparison.
Stephen F. Eisenman, Catherine Howe, Sarah Lea, Michael Peppiate & Anna Testar
Reference : 55115
FRANCIS BACON Mens en Beest
, Mercator/ Mercatorfonds , 2021 HB, 300 x 250 mm, 196 pages, 180 colour illustrations, Nederlandstalige uitgave ISBN 9789462302754.
Dit boek focust op de rol van dieren in het werk van Francis Bacon (1909-1992). Bacon schilderde vaak honden en paarden, en in 1969 voor het eerst een stierengevecht, een interactie tussen mens en dier die gevaarlijk en wreed is, maar ook verontrustend intiem. In deze publicatie identificeren deskundige auteurs Bacons inspiratiebronnen en bespreken ze zijn benadering van dieren in het onderzoek dat hij voerde naar de condition humaine. Tentoonstelling: Royal Academy, London: Jan- April 2021 Explore Francis Bacon's visceral paintings, where the line between human and animal is constantly blurred, reminding us that our primal instincts lie just below the surface. Irish-born artist Francis Bacon was the horse-breeder's son who became one of the most important painters of the 20th century. An openly gay man at a time when homosexuality was illegal, he was banished from his conservative family home by his father at 16. After that, he drifted through Berlin and Paris before establishing himself in London, with his formative years running parallel with some of the 20th century's most profoundly disturbing events. This powerful exhibition will focus on Bacon's unerring fascination with animals: how it both shaped his approach to the human body and distorted it; how, caught at the most extreme moments of existence, his figures are barely recognisable as either human or beast. It also explores how Bacon was mesmerised by animal movement, observing animals in the wild during trips to South Africa; filling his studio with wildlife books, and constantly referring to Eadweard Muybridge's 19th-century photographs of humans and animals in motion. Whether baboons or bulls, dogs or birds of prey, Bacon felt he could get closer to understanding the true nature of humankind by watching the uninhibited behaviour of animals. Spanning Bacon's 50-year career, highlights include some of Bacon's earliest works and his last-ever painting, alongside a trio of bullfight paintings which will be exhibited together for the first time. Seen together, these raw expressions of anxiety and instinct - both animal and human - feel poignantly relevant today. Exposition au Royal Academy, Londres, 22 janvier - 12 avril 2021
BACON, sa vie, son temps, sa philosophie et de son influence jusqu'à nos jours -- BEL EXEMPLAIRE
P., Didier, 1858; un volume in 8, relié en demi-chagrin noir, dos orné de filets dorés (reliure de l'époque), (2), 15pp., 464pp.
---- BEL EXEMPLAIRE - Seconde édition ---- Expédition en Espagne, expédition d'Essex en Irlande, avènement de Jacques Ier, sa conduite à la chambre des communes - Première édition du Traité de l'avancement des sciences ; conflit avec E. Coke - Composition des Cogitata et visa - Publication du De sapientia veterum - Bacon Procureur général - Bacon ministre - Bacon après sa chute - Ecrits divers - Sa maladie et sa mort - Analyse des ouvrages et de la philosophie de Bacon - Examen de la philosophie de Bacon - Histoire de la philosophie et de l'influence de Bacon - etc**5729/K3
Francis Bacon - Inventer la science
Belin , Un Savant, une Epoque Malicorne sur Sarthe, 72, Pays de la Loire, France 1988 Book condition, Etat : Bon broché, sous couverture imprimée éditeur noire, illustrée d'un portrait de Francis Bacon In-8 1 vol. - 271 pages
quelques illustrations dans le texte en noir et blanc 1ere édition, 1988 Contents, Chapitres : Préambule : La société élisabéthaine - Ruptures - Trois ambitions de Bacon - La cassure : Essex - New and Old - Stratégies - Critique des idoles - Le levier, le compas, la boussole - Interprétation de la nature - Unité de la science - Gloria in obsequio - Annexes, textes de Bacon : Lettre à Burghley, 1592 - Le verre calendaire - Experientia literata ou la chasse de pan - La transmutation de l'or - De augmentis, livre III - Chronologie, bibliographie et index - Francis Bacon, né le 22 janvier 1561 à Londres et mort à Highgate près de la même ville en 1626, baron de Verulam, vicomte de St Albans, Chancelier d'Angleterre, est un scientifique, un philosophe et un homme d'État anglais. Francis Bacon développe dans son uvre le De dignitate et augmentis scientiarum une théorie empiriste de la connaissance et, en 1620, il précise les règles de la méthode expérimentale dans le Novum organum, ce qui fait de lui lun des pionniers de la pensée scientifique moderne. (source : Wikipedia) infimes traces de pliures aux coins des plats de la couverture, sans gravité, sinon bel exemplaire, intérieur frais et propre
