Visit of Exhibition "Francis Bacon: Human Presence" at the Fondation Gianadda

The Fondation Pierre Gianadda in Martigny offers a striking immersion into the world of Francis Bacon (1909-1992) with the exhibition “Francis Bacon: Human Presence”, in collaboration with the National Portrait Gallery, London. A painter of violence and raw emotion, Bacon redefined portraiture, exploring the fragility of existence and the distortion of the human form.

Running until June 8, 2025, the exhibition brings together around thirty works from prestigious collections, accompanied by photographs and rare archival material. The thematic and chronological layout traces the artist’s evolution—from his post-war screaming figures to his introspective late portraits. A highlight of the exhibition is the presentation of an unfinished painting, left on his easel at the time of his death, a haunting testament to an artist forever in search of truth.

Early Life and Training (1909-1933)

Francis Bacon was born on October 28, 1909, in Dublin, Ireland. His mother, Christina Winifred Loxley Firth, came from a wealthy background, while his father, Anthony, a former military officer and horse trainer, was a violent and authoritarian man. Raised in a strict environment, Bacon suffered from asthma, which prevented him from attending school regularly.

After a turbulent relationship with his father, particularly after discovering his homosexuality, Bacon moved to London in 1926. He worked as a decorator and designer. A trip to France, particularly to Chantilly and Paris, allowed him to visit galleries and attend an exhibition of Picasso’s drawings, which was a revelation for him. He then decided to pursue a career as a self-taught painter.

Returning to London in 1928, he worked as a furniture designer and decorator, drawing inspiration from Surrealism and Picasso. However, between 1930 and 1933, he did not yet consider himself a full-fledged painter and primarily continued his work as a decorator, going through a period of instability and frequent moves.

Artistic Beginnings (1933-1945)

Between 1933 and 1940, Bacon started signing his first works, which displayed various influences. He exhibited his paintings, but success remained elusive. In 1936, the International Surrealist Exhibition rejected his works, which was a significant blow, leading to a decline in his artistic production. Few paintings from this period have survived.

In 1940, as World War II intensified, Bacon’s asthma exempted him from military service. He temporarily left London for the countryside before returning and renting a studio in Kensington.

Rise to Recognition (1945-1960)

From 1945 to 1950, Bacon developed a unique style marked by post-war existential anguish. His paintings featured figures screaming in pain, expressing deep suffering. His work focused on anonymous, often male, human figures. In 1946, he moved to Monaco.

Between 1950 and 1954, he taught at the Royal College of Art and visited his mother in South Africa. Around this time, he also began a turbulent relationship with Peter Lacy, characterized by passion and violence.

In 1954, Bacon represented the United Kingdom at the XVIII Venice Biennale, alongside Ben Nicholson and Lucian Freud. The following year, a retrospective of his work was held at the Institute of Contemporary Arts in London. Moving away from live models, he began painting portraits of his patrons and collectors. He preferred using photographs or film stills as references rather than painting from live sittings.

Between 1957 and 1960, Bacon exhibited regularly in Paris, at the Rive Droite Gallery, and in Italy and Germany. In 1958, he signed a contract with Marlborough Fine Art Gallery, giving him financial stability and greater artistic recognition. In 1959, he participated in the São Paulo Biennale.

Peak of Fame (1961-1980)

In 1961, Bacon moved into a new studio at 7 Reece Mews, South Kensington, London. This small, cluttered space, filled with paint tubes, books, and photographs, became his primary creative environment until his death.

The following year, a major retrospective was held at the Tate Gallery. However, this period was marked by tragedy: his partner, Peter Lacy, committed suicide in Tangier. Deeply affected, Bacon responded by painting a powerful triptych depicting his deceased lover.

Between 1963 and 1970, his international reputation grew significantly. A major retrospective was held at the Solomon R. Guggenheim Museum in New York. He became a central figure in the London art scene, frequently socializing with Lucian Freud, Henrietta Moraes, and Muriel Belcher. Inspired by this circle, he moved beyond portraiture, delving deeper into distortion and dehumanization in his art.

However, this period was also marred by loss. In October 1971, a retrospective was held at the Grand Palais in Paris, but just two days before the opening, George Dyer, one of Bacon’s closest companions, took his own life in a hotel room.

Between 1975 and 1980, Bacon exhibited at the Metropolitan Museum of Art in New York, reinforcing his status as a major contemporary artist. During the mid-1970s, he met John Edwards, a bartender who would become one of his most intimate confidants.

Final Years and Legacy (1985-1992)

In 1985-1986, a second major retrospective was held at the Tate Gallery and the National Gallery in Berlin. During this time, Bacon frequently traveled and spent time with John Edwards.

In 1987, he exhibited at the Lelong Gallery in Paris, where he met Léonard Gianadda.

Between 1989 and 1990, numerous retrospectives, including Washington (1989) and New York (1990), solidified Bacon’s position as one of the greatest painters of the 20th century.

After struggling with health issues for several years, Francis Bacon’s condition worsened during a stay in Madrid. He passed away on April 28, 1992, from a heart attack.

Three Studies for a Portrait of Henrietta Moraes, 1963. Francis Bacon.
Oil on canvas. YAGEO Foundation, Taiwan.