Wild Life: Francis Bacon and Peter Beard

Exposición / Ordovas / Savile Row, 25 / London, London, City of, Reino Unido
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Cuándo:
12 abr de 2021 - 16 jul de 2021

Inauguración:
12 abr de 2021

Horario:
De lunes a viernes de 10 a 18 h.

Precio:
Entrada gratuita

Organizada por:
Ordovas

Artistas participantes:
Francis Bacon, Peter Beard

ENLACES OFICIALES
Web 

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Etiquetas
Fotografía  Fotografía en London, City of  Pintura  Pintura en London, City of 

       

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Descripción de la Exposición

Wild Life: Francis Bacon and Peter Beard, explores the friendship between Francis Bacon (1909–1992) and his long-time friend and muse, the artist Peter Beard (1938–2020) who, despite working on different sides of the world, shared deeply similar personal and creative passions. Beard first met Bacon in 1967, at his exhibition at the Marlborough New London Gallery. The two became friends and admirers of each other’s work and served as one another’s subjects on many occasions over the years. Organised in collaboration with Peter Beard’s Estate, the exhibition is intended as a celebration of Beard’s life. Works from the period of the two artists’ friendship will be shown side by side for the first time, along with unseen materials from Beard’s archives including letters and photographs gifted to Bacon, and, most importantly, Beard’s diaries, which served as the genesis for his art ------------------------------------------ ‘After the Irish-born British painter died in 1992, more than 200 photographs of dead elephants were found in his London studio. They were given to him by Peter Beard, who took many of them from an aeroplane flying low over the grasslands of Kenya. The two would converse avidly about Beard’s images of these great, grey giants slowly rotting into monuments of white bone and ivory in the African sun. They inspired some of Bacon’s most pungent thoughts about art and life. “I would say the photographs of elephants,” he said, “are naturally suggestive.” What he saw was “a trigger – a release”. … Bacon’s admiration for Beard’s art was interesting for another reason: it was a unique instance of him treating photographs as something more than raw material.’ Jonathan Jones, ‘The horror safari: why was Francis Bacon so triggered by dead elephants?’ The Guardian, 7 April 2021 ‘Dans l’exposition chez Pilar Ordovas figure une image en noir et blanc qui est composée d’une plage déserte dont le sable est marqué par les traces du passage d’un animal. Elles conduisent à ce qui ressemble à un tas d’ossements ou de branchages réunis dans un amas difforme. Vanité des vanités... Le photographe lui a donné le nom énigmatique de L’Homme sans chien. Hommage à Bacon. Elle est encadrée d’un contour de sang tracé au doigt. Beard, tout comme son ami irlandais, esthétise le drame. Dans une de ses lettres à son aîné, il confesse que leurs discussions l’avaient encouragé à penser le rôle du temps en photogra- phie. Beard enregistre sa vie en mots et en clichés, assemblés comme pour un puzzle chaotique, dans son journal intime africain.’ Judith Benhamou, ‘Francis Bacon/Peter Beard, Le Dialogue Inattendu,’ Les Echos, 1 April 2021

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