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Portrait of Peter Beard
On meeting Bacon, Beard recalled, ‘I was at one of his openings at the Marlborough Gallery in London where he was standing in some kind of reception line and I simply said, “Hi — Peter Beard.” He said, “I know who you are.” It was my very great luck that he had just bought The End of the Game and connected with the doomed pachyderms.
Francis Bacon first encountered the American artist, photographer, diarist, and writer Peter Beard in the mid-1960s, although the exact circumstances remain somewhat ambiguous. The meeting either took place at London’s Clermont Club during the launch of Beard's seminal book on African wildlife, The End of the Game, or at one of Bacon’s exhibitions at the Marlborough Gallery around the same period. Despite the uncertainty of their initial introduction, one fact is indisputable: the connection between Bacon and Beard was immediate and profound.
The bond between Bacon and Beard was rooted in their shared fascination with raw, elemental subjects. Both artists were drawn to themes of mortality, decay, and the primal forces of nature. Bacon was captivated by Beard's haunting photographs of African wildlife, particularly his striking aerial shots of dead elephants, which portrayed the stark brutality and existential finality of life. These images resonated deeply with Bacon's own artistic vision, reflecting his interest in the visceral and often uncomfortable truths of the human and animal condition. The evidence of this influence was clear; over 200 of Beard's photographs were discovered in Bacon's famously chaotic studio after his death, suggesting the extent to which Beard's imagery informed Bacon's creative process.
The relationship between Bacon and Beard was not merely artistic but deeply intellectual. Both men were avid collectors of evocative and often provocative imagery, driven by an obsessive need to confront and understand the complexities of life, death, and the human role in nature's harsh realities.
Bacon’s ability to dissect his subjects—whether human or animal—found fertile ground in his work with Beard. While Bacon is renowned for his unflinching depictions of flesh, his portraits of Beard took this exploration even further. Bacon painted nine major portraits of Beard, delving into the nuances of his subject’s psyche and offering a raw, almost brutal analysis of Beard’s facial structure. These works, with their characteristic distortion and deconstruction, reveal how Bacon peeled back the layers of his subject, not merely to capture a likeness but to expose the deeper, often unsettling, facets of Beard's identity. Bacon's approach went beyond the surface, using his brush to interrogate Beard's essence, reducing him to the raw emotions and existential truths that lay beneath.
In his aquatint portrait of Beard, Bacon’s artistry reached into the depths of Beard’s psyche, crafting an image that transcends a mere representation. It captures the photographer's essence, infusing the composition with an introspective, almost melancholic examination of Beard's inner world. Bacon’s interpretation is both an homage to and a deconstruction of Beard's identity, presenting a layered, complex view that underscores the photographer’s profound engagement with life’s darker, more existential themes.
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