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study for head of lucian freud 1967 francis bacon bacon archive 1949-2000 school of bacon being & alien bacon news 2001-2005 bacon news 2005-2008 bacon news 2009-2011 bacon news 2012-2018 bacon news 2018 being & alien ontological-slime self portrait 2000 alexander verney-elliott being & alien the head maker "i painted to be loved." francis bacon, the last interview , the art newspaper , june 2003 "i look at a chop on a plate, and it means death to me. i would like some day to trap a moment of life in its full violence, its full beauty. that would be the ultimate painting." francis bacon, "distorting into reality" , time, june 8th, 1962 "no one else is francis bacon - there is an irreducible specificity to his being-in-the-world - but as with every other artists, on can read off of bacon's work the totality of art history, a totality his work endlessly retotalizes and projects towards the future." dana polan, bacon: the logic of sensation, gilles deleuze and the theatre of philosophy , routledge, 1994 "bacon's work is the most profoundly disquieting manifestation i have yet seen of that malaise, which since the last war, has inspired the philosophy of sartre [there is] a literary parallel in kafka's nightmares of frustration, which largely owed their inspiration to kierkegaard's philosophy of despair." nevile wallis, nightmares, the observer , 26th november, 1949 "in a back-street behind piccadilly, a man may sometimes be encountered wearing a huge pair of sun-glasses, grey flannel coat, tight trousers, grey flannel shirt, and black tie. he walks rapidly into the darkness. he has cropped hair, a round puffy face and looks about 35. he is in fact in his early fifties - his conquest of age at once gives him a slightly spooky, dorian gray quality - and he is the painter, francis bacon... he is, indeed, a freak." the observer profile - francis bacon, the observer weekend review , sunday, may 27th, 1962 "if you go into one of those big butcher's shops, especially harrods - it is not to do with mortality like lots of people think, but it's to do with the colour of meat. the colour of meat is so powerful, so beautiful really. people ask me why my pictures have this feeling of rawness and mortality. if you think of a nude, if you think of anything going on around you, think how raw it all is. how can you make anything more raw than that?.. i really work to try and excite myself. i never expected my work to sell at all. i do sell bits but not with any ease." francis bacon, carcasses and crucifixes , the times , monday may 20th, 1985 "bacon is a self-taught painter but that does not prevent him from being a masterly painter. he is even a masterly illusionist. the texture of flesh is something that is no more difficult for him to render than it was for courbet or rubens. and that is his ultimate secret, for no sooner has he presented us with the convincingly painted illusion, so that we believe in it, optically, then he defaces it, as though he were mocking our belief. the flesh becomes ambiguous and ghostly; it becomes ectoplasm as we watch it. bones become jelly, bodies become alarmingly vulnerable, belief gives way to doubt." eric newton, mortal conflict , the guardian , thursday may 24th, 1962 "somehow francis got to the centre of your life. being with him was such an enlivening experience that you wanted to have him at the centre of your life. i don't think he could have got through life being as difficult as he was if he hadn't had a hugely positive and vital effect on the people around him. you tended to get swept up in it." michael peppiatt, the observer magazine , sunday january 29th, 2006 "it is a clich to say that francis bacon's lifelong theme has been despair. but in the light of this latest painting i think we should begin to look back on his work and ask whether the clich is really true. there is something here more deliberate, more chosen and more willed than despair. something vicious and purely evil." richard dorment, on bacon's 1988 second version of triptych 1944 , the daily telegraph , 3rd february 1989 "a great artist leaves deep traces. francis is as much alive after his death as he was when he was here. he was a transforming person. if you met him and spent time with him, you couldn't help but be changed, and this effect goes on. i think that's one of the signs of great genius, a person who actually transforms the lives around him." michael peppiatt, the independent on sunday , march 9th 2003 "for bacon's is not fundamentally an art of exaggeration: it is the exaggerations in ourselves, or in our neighbours, which we dread to recognise. bacon's art reveals to us, often for the first time, and with the impact of prophecy, the true nature of the world we live in... and are the events which bacon sets before us more dreadful than those of which we read every day in the newspapers?" john russell, titian crossed with tussaud , the world of art , the sunday times , 27th may, 1962 "it is bacon's revolutionary treatment of the head that is his greatest overall achievement. no one, not even picasso, had dared to twist and mould the skull and the face as bacon does, smearing them, scooping great hollows out of them, turning them inside out, and yet always retaining a likeness which, as in the case especially of george dyer and henrietta moraes, become more compelling and unmistakeable the more violent the distortion." john banville, false friend, exposed: francis bacon's secret photographs , the sunday telegraph , 27th february, 2005 "when one talks about paintings, it's all nonsense. it has its language and anything else is a bad translation. i do feel the need to paint. i paint for the excitement which comes when the image comes across but i also hope luck will work with me in paint. i have always painted to excite myself. for me images are ways of unlocking the valves of sensation. it is when you stop fumbling around and the images crystallises or when you realise you can take it further." francis bacon , bacon's art gets the red-carpet treatment , the sunday times , 25th september 1988 "the two sexes met in francis bacon, more than in any other human being i have encountered. at moments he was one of the most feminine of men, at others one of the most masculine. he would switch between these roles as suddenly and as unexpectedly as the switching of a light. that duality did more than anything perhaps to make his presence so famously seductive and compelling and to make him so peculiarly wise and realistic in his observation of life." david sylvester, francis bacon: the human body , hayward gallery, university of california press, 1998 "sir john [rothenstein] mentions nietzsche as one of the writers bacon constantly re-reads, and something he wrote in the genealogy of morals has a bearing on a recent remark of bacon's: 'i have deliberately tried to twist myself but i have not gone far enough.' nietzsche wrote that is the self-tyranny and delight of the artist to 'give form to himself as a piece of difficult, refractory and suffering material'. bacon sets no limits to his elf tyranny. what more can be done he will do." robert melville, francis bacon , studio international , july 1964 "very few people find their real instincts. every now and then there's an artist who does and who makes something new and actually thickens the texture of life. but it's very rare. you have to be able to be really free to find yourself in that way, without any moral or religious constraints. after all, life is nothing but a series of sensations, so one may as well try and make oneself extraordinary, extraordinary and brilliant, even if it means becoming a brilliant fool like me and having the kind of disastrous life that i have had. that is it." francis bacon, francis bacon: anatomy of an enigma , michael peppiatt, westview press, 1996 "well, i think that berger did a lot of damage. by promoting lousy artists instead of good ones. he had a lot of influe

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Whois Information

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Domain Name: ALEXALIENART.COM
Registry Domain ID: 31112749_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.enom.com
Registrar URL: http://www.enom.com
Updated Date: 2017-07-11T09:18:14Z
Creation Date: 2000-07-10T07:46:41Z
Registry Expiry Date: 2018-07-10T07:46:41Z
Registrar: eNom, Inc.
Registrar IANA ID: 48
Registrar Abuse Contact Email:
Registrar Abuse Contact Phone:
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: ULTRA103.UK2.NET
Name Server: ULTRA104.UK2.NET
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of whois database: 2017-08-11T07:30:45Z <<<

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Registrars.

  REGISTRAR eNom, Inc.

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =alexalienart.com

  PORT 43

  TYPE domain

DOMAIN

  NAME alexalienart.com

  CHANGED 2017-07-11

  CREATED 2000-07-10

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited

NSERVER

  ULTRA103.UK2.NET 77.92.66.25

  ULTRA104.UK2.NET 77.92.66.26

  REGISTERED yes

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