Confusion arises from the fact that the body was also drawn lying naked and face down with outstretched legs. The striping of the surface on which the man is seated may indicate a bed or bench. The figure is especially awkward, an impression reinforced by the high floating viewpoint. The line is hesitant in a way which is comparable to other pencil or pen drawings in the collection, such as Seated Figure ( T07364). This sequence of ephemeral drawings was followed by Man on a Bed a sketch which was rather unresolved. This may give a date for the use of this sketchpad.
The architectural drawing appears to describe the layout of the artist’s flat at 7 Reece Mews the inclusion of dimensions for one room may suggest that it was drawn in anticipation of his occupation of the studio in the autumn of 1961. Of the three sketchpad pages, that showing sofas relates to the establishment of settings such as found in another page Man on a Sofa ( T07382).
Person sketch archive#
A further sheet shows very sketchy figures writhing on staircases however, the paper is a different quality and cannot belong to the same book (Tate Gallery Archive 9810). They are: a draft letter for which the artist only wrote ‘Dear’ in blue ball point pen, an architectural sketch (in the same pen) of a flat accessed by a central staircase and a pencil drawing of sofas (all Tate Gallery Archive 9810). Judging from marks and creases on the sheets, these three preceded Man on a Bed. More so than the larger spiral sketchbook, the ‘Telelinen’ pages are fleeting annotations and three pages have drawings which appear more diagrammatic in nature. They have also been marked in the middle of the right side by someone leafing through with maroon paint on their fingers. Most have part of the lower left corner missing where they have been torn from the original sketchpad (a repetition which may suggest that they were all removed at once). Man on a Bed is one of the ‘Telelinen’ pages, all of which have perforations down the left edge. These were accompanied by source material in the form of magazine pages, a newspaper and a book of photographs of monkeys. One set constitutes twenty-six pages from a spiral bound sketchbook (or books) ( T07355- T07380), while the second includes nine pages from a smaller sketchpad (or pads) watermarked ‘Telelinen’ (Tate Gallery Archive 9810, and T07381- T07386). Of particular importance are two sets of works on paper from the collection of Paul Danquah and Peter Pollock, friends with whom Bacon lodged in Battersea, London between 19. The emergence of surviving drawings after his death was inevitable and has revealed a more premeditated approach in his conception of compositions. Purchased from Paul Danquah and Peter Pollock with assistance from the National Lottery through the Heritage Lottery Fund, the National Art Collections Fund and a group of anonymous donors in memory of Mario Tazzoli, 1998įrancis Bacon: Working on Paper, Tate Gallery, London, February-April 1999 (34, reproduced in colour)įrancis Bacon was secretive about ever making preparatory sketches, preferring to suggest that his compositions were achieved in the spontaneous confrontation between his imagined vision and the working of the canvas.
Watermarked ‘Telelinen | BRITISH MADE | NO 1 MILL’ upside down across centre
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