Skip to main content
1950s
1950s

Francis Bacon's work in the 1950s was profoundly influenced by his personal experiences and observations, which led to a significant transformation in his artistic output during this period. His encounters with the haunting figure in Vincent Van Gogh's "The Painter on the Road to Tarascon" deeply impacted Bacon, prompting him to integrate themes of the ephemeral and ghostly presence into his work. This period also saw Bacon's art being deeply affected by his visits to South Africa, where the movement of wild animals through the grass left a lasting impression on him​ (Francis Bacon)​. The 1950s marked a shift towards the exploration of human emotion and existential angst in Bacon's paintings. This decade is characterized by his innovative use of lens-based imagery, which is evident in the candid poses and somber color schemes that resemble the tonality of contemporary newspaper printing. Works like "Three Studies from the Human Head" (1953) demonstrate his ability to evoke the starkness of black and white photography, further blurring the lines between painting and photographic realism​ (Francis Bacon)​. During this time, Bacon's paintings began to feature cage-like structures and confined spaces, symbolizing the isolation and torment of human figures. This motif is exemplified in his series of papal portraits, such as "Study from Portrait of Pope Innocent X by Velásquez" (1959), which capture the intensity and complexity of human emotion. Bacon's interest in the scream, drawn from sources like Eisenstein's "Battleship Potemkin," recurs throughout his works, adding a layer of visceral expressionism to his representations of the human condition​ (Francis Bacon)​​ (Francis Bacon)​. The 1950s were crucial for Bacon, not only in terms of his stylistic development but also in establishing his reputation as a leading figure in the art world. His unique approach to depicting the human form—marked by distortion, emotion, and raw energy—set him apart from his contemporaries and solidified his place in the canon of 20th-century art​ (The Art Story)​.