On seeing an exhibition of Francis Bacon’s work in the summer of 1962, poet Stephen Spender wrote in his journal:
“After Bacon most other contemporary painting seems decoration, doodling, aestheticism or stupidity.”
Like much of the substance to his poetry, Spender could grasp Bacon’s importance, but was unable to explain why - thinking it more to do with “the life of disillusionment he [led] which he [faced] in its implications; perhaps it is the old English puritanism and dislike of pleasure…”
Spender maintained a friendship with Bacon throughout his life, and in August of the same year, visited Bacon at his studio, where they discussed painting.
“F. doesn’t think painting should be a record. It should be an exploration of reality which gives it a new twist. ‘What I am thinking all the time is how in painting I can slightly complicate the game. I can do very little but I think when I am optimistic that I might still live to make the game a bit more complicated.’
....
“F. also went some way towards expanding what he meant by the twist. He said he wanted to do some little thing which gave the image added depth and poignancy.’
Bacon’s intention was to present the ‘brutality of fact,’ to ‘give the sensation without the boredom of conveyance.’ In this his final interview from 1991, Bacon talked about his life and career, and his reasons for painting, but leaving the overview and assessment of his work to others, instead Bacon said, ‘I’ll go on until I drop.’
Presented by critic Richard Cork, this radio interview with Bacon was first broadcast on BBC Radio 4’s Kaleidoscope, August 17, 1991.
Bonus: Francis Bacon Interviewed by David Sylvester, March 23, 1963.
Previously on Dangerous Minds: