Painting 1946

painting - Painting  1946
Photograph by MagicToDooron Flickr.

Eric Hall and Nanny Lightfoot would come to stay. Bacon wrote to Sutherland asking that he apply fixative to the Painting 1946 patches of pastel on Painting (1946) before it was shipped to New York.

His letters to Erica Brausen painting show that he did paint there, but no paintings are Painting 1946 known to survive. In 1948, Painting (1946) sold to Alfred Barr for the Museum of Modern Art in New York. Painting (1946) is now too fragile Divine Mercy painting to be moved from the museum for exhibition elsewhere. In 2007 Artist Damien Hirst, a large fan of Bacon s, modeled his vitrine installation School: The Painting 1946 Archaeology of Lost Desires, Comprehending Infinity and the Search for Knowledge after Painting (1946), featuring sides of beef, birds, a chair, and an umbrella all within the vitrine. .

After staying at a succession of hotels and flats, including the Hôtel de Ré, Bacon settled in a large villa, Painting 1946 La Frontalière, in the hills above the town. (It was shown in several group showings, including the British section of Exposition internationale d arte moderne (18 November – 28 December 1946) at the Musée National d Art Moderne, for which Bacon travelled to Paris.) Within a fortnight of the sale of Painting (1946) to the Hanover gallery, Bacon had used the proceeds to decamp from London to Monte Carlo.

Bacon described the work as his most unconscious, the figurations forming without his intention. Painting (1946) is an oil-on-linen painting by the Irish-born artist Francis Bacon. It was originally to depict a chimpanzee in long grass (parts of which may be still visible); Bacon then attempted to paint a bird of prey landing in a field.

In an interview with David Sylvester in 1962, Bacon recalls: Graham Sutherland saw Painting (1946) in the Cromwell Place studio, and urged his dealer, Erica Brausen, then of the Redfern gallery, to go to see the painting and to buy it. Bacon spent much of the next few years in Monte Carlo, apart from short visits to London.

Brausen wrote to Bacon several times, and visited his studio in early autumn 1946, promptly buying the work for £200. From Monte Carlo, Bacon wrote to Graham Sutherland and Erica Brausen.