ITV The South Bank Show - Francis Bacon (1985)

Francis Bacon was widely regarded as the greatest British painter of this century. His pictures of screaming popes and portraits of faces contorted with pain and violently distorted bodies shocked the art world. More than anyone since Picasso, Bacon's works tapped into our fears, giving his paintings a terrible beauty that has placed them among the most memorable images in the history of art.
This South Bank Show interview of the artist famous for depicting a screaming Pope and bloody bodies begins with him walking the streets of London, visiting the fruit market and such, while interviewer Melvyn Bragg gives a brief overview of Bacon's childhood and early career. Then Bragg enters the picture, questioning the leather-clad, slightly paunchy Bacon in a series of his pet haunts: the Tate Gallery storeroom looking at slides of his work and others that inspired him, his messy studio, his favorite restaurant, a drinking club, and a gambling casino. Despite his fondness for painting slabs of meat, syringe-stuck bodies, and the like, Bacon describes himself as an optimist and, indeed, his manner is quite cheerful as he denounces the work of Pollack and Rothko, criticizes some of his own paintings, and muses on the inevitability of death and nothingness. Of his filthy studio he explains "I work much better in chaos," and, while happy to talk about the things that inspire him, he refuses to tell the story of any particular painting: "It is itself and it's nothing else." Filmed in 1985, seven years before his death, this 55-minute documentary is revelatory, amusing, and–like its subject– ultimately quite charming.
Winner of 1985 International Emmy Award.

Francis Bacon (28 October 1909 – 28 April 1992)
Anglo-Irish figurative painter known for his bold, austere, graphic and emotionally raw imagery. Bacon's painterly but abstract figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. He began painting during his early 20s; yet he worked only sporadically until his mid 30s. Before this time he earned his living as an interior decorator and designer of furniture and rugs. Later, he admitted that his career was delayed because he had spent too long looking for a subject that would sustain his interest. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, and it was this work and his heads and figures of the late 1940s through to the early 1960s that sealed his reputation as a notably bleak, world famous, chronicler of the human condition.
From the mid 1960s, Bacon mainly produced portrait heads of friends. He often said in interviews that he saw images "in series", and his artistic output often saw him focus on single themes for sustained periods including his crucifixion, Papal heads, and later single and triptych heads series. He began by painting variations on the Crucifixion and later focused on half human-half grotesque heads, best exemplified by the 1949 "Heads in a Room" series. Following the 1971 suicide of his lover George Dyer, Bacon's art became more personal, inward looking and preoccupied with themes and motifs of death. The climax of this late period came with his 1982 "Study for Self-Portrait", and his late masterpiece Study for a Self Portrait -Triptych, 1985-86. Despite his seemingly existentialist outlook on life, Bacon appeared to be a bon vivant, spending much of his middle and later life eating, drinking and gambling in London's Soho with Lucian Freud, John Deakin, Daniel Farson, Patrick Swift, Jeffrey Bernard, Muriel Belcher and Henrietta Moraes, among others. Following Dyer's death he distanced himself from this circle and became less involved with rough trade to settle in a platonic relationship with his eventual heir, John Edwards.
Since his death, Bacon's reputation has steadily grown. While Margaret Thatcher famously described him as "that man who paints those dreadful pictures", He was the subject of two major Tate retrospectives during his lifetime and received a third in 2008. Bacon always professed not to depend on preparatory works and was resolute that he never drew. Yet since his death, a number of sketches have emerged and although the Tate recognised them as canon, they have not yet been acknowledged as such by the art market. In addition, in the late 1990s, several presumed destroyed major works, including Popes from the early 1950s and Heads from the 1960s, surfaced on the art market, some of which are considered equal to any of his "official" output.

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