Dimensions: support: 340 x 270 mm
Copyright: © Estate of Francis Bacon. All Rights Reserved, DACS 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: This is Francis Bacon’s "Figure with Left Arm Raised, No. 1," housed here at the Tate. The support measures 340 by 270 mm. Editor: It’s startling! The figure seems caught mid-motion, or perhaps mid-collapse. The intense blues against the stark white emphasize the tension. Curator: Indeed. Bacon was deeply concerned with the materiality of paint, the viscosity, how it could distort and reveal the human condition. Consider, too, his interest in capturing raw, unfiltered emotion, especially prevalent given his artistic output in the wake of the World Wars. Editor: I’m struck by the simplicity of the composition. How Bacon distills form with just a few strokes to capture a moment of existential angst is remarkable. Curator: A powerful statement about the human form. Editor: Absolutely; it's a compelling study of vulnerability.
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http://www.tate.org.uk/art/artworks/bacon-figure-with-left-arm-raised-no-1-t07361
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Strenous poses are found throughout Bacon's dismembered sketchbook. These pages show careful variations alongside switches of scale and medium. Among the identifiable sources are the split-second photographs from Eadweard Muybridge's 'The Human Figure in Motion' (1901) which Bacon much admired. 'Figure with Arms Swung Out' is taken from a runner preparing for a race, while the 'Figures with Left Arm Raised' (one traced from the other) derive from photographs of fencers. Dispensing with their contexts, Bacon made the figures' actions inexplicable even as they remained credible. The less easily deciphered 'Figure in Grey Interior' shows a structure around the figure which Bacon also used in contemporary paintings. Gallery label, September 2004