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Freud and Bacon's graphic works to be exhibited at Marlborough London

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Date
11 January 2017
A painting of a figure in a red cloak and white pleated skirt, seated in a gold frame. The figure is set against a dark, curtained backdrop on a patch of textured green ground.
Above

Francis Bacon, Study for a Portrait of Pope Innocent X, 1989, lithograph, 115.6 × 76.8 cm, © The Estate of Francis Bacon. All rights reserved / DACS 2016

Marlborough Graphics is set to open an exhibition featuring prints by leading figurative artists and friends Lucian Freud and Francis Bacon.

Opening on 18 January at Marlborough Fine Art, 6 Albemarle Street, London, the exhibition addresses the very different approaches of the two men to printmaking. Bacon’s prints are based on a selection of 35 paintings made by the artist from 1955 – 1991. As Marlborough’s director Frankie Rossi explains: “Bacon wanted his prints to look as close to his paintings as possible – his attention to detail and desire for perfection are evident in these works. Prints were produced under his supervision and he personally made changes to proofs when necessary, always ensuring the right colour balance was achieved.”

While Freud’s first etching was made in Paris in 1946, the artist’s most significant graphic output was during the 90s. With the exception of two, all of Freud’s etchings were made without colour, with notably simple backgrounds. Marlborough Graphics boasts one of the largest collections of Freud etchings globally.

A painting of a distorted, pale figure sitting in a chair against a dark background. The figure has an elongated form and a circular earring, with dark, wing-like shapes extending from their legs.
Above

Francis Bacon, Seated Figure 1977, 1991, aquatint, edition of 90, 163 × 119 cm, 134 × 98.4 cm, © The Estate of Francis Bacon. All rights reserved/DACS 2016

A painting of a person sitting in a chair with their legs crossed and head tilted back. They wear a black top and light-coloured trousers against a split background of pale blue and yellow.
Above

Francis Bacon, Study for Self Portrait, 1982, offset lithograph, edition of 182, 94 × 65 cm, © The Estate of Francis Bacon. All rights reserved/DACS 2016

A painting of a distorted, fleshy figure entwined with another form on a red and green curved beam. The figures are rendered in muted tones of pink and grey against a plain lilac background.
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Francis Bacon, Triptych in Memory of George Dyer, 1971 (left hand panel), offset lithograph, edition of 200, 85.6 × 61 cm, © The Estate of Francis Bacon. All rights reserved/DACS 2016

A triptych of paintings against a bright orange background. Each panel features a distorted, fleshy figure in a different pose, casting a long, fluid shadow.
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Francis Bacon, Triptych 1983, 1983, a set of three lithographs, edition of 180, 86.7 × 60.6 cm (each), © The Estate of Francis Bacon. All rights reserved/DACS 2016

A triptych of three paintings showing a distorted face from different angles against a black background. The features are blurred and smeared, creating a sense of movement or dissolution.
Above

Francis Bacon, Studies for Self-Portrait, 1991, lithograph, © The Estate of Francis Bacon. All rights reserved/DACS 2016

A charcoal drawing of a nude figure leaning to one side with their head tilted. The figure’s arm rests on an unseen surface, creating a relaxed, slumped posture.
Above

Blond Girl, 1985, etching, 89 × 72 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

A charcoal drawing of a slender dog lying on its side, fast asleep. The figure is rendered with high contrast, set against a densely hatched dark background.
Above

Eli, 2002, etching, edition of 46, 77 × 96 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

A charcoal drawing of a nude figure curled in a fetal position. The figure is rendered with heavy shading and strong contours against a pale, textured background.
Above

Girl Sitting, 1987, etching, 60.5 × 77.4 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

An etching of a nude figure lying on their side, head resting on a hand. The figure is rendered in dense, rhythmic cross-hatching that emphasises the contours of the body.
Above

Head and Shoulders of a Girl, 1990, etching, edition of 50, 78 × 63.5 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

An etching of a person looking directly at the viewer with a sombre expression. The portrait is created with dense, hatched lines that create deep shadows across the face and neck.
Above

Kai, 1991-2, etching, 79.3 × 63.5 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

A charcoal drawing of a person’s face and shoulders. The figure is rendered with heavy, expressive hatching and deep shadows, creating a weathered and intense expression.
Above

Self Portrait: Reflection, 1996, etching, edition of 46, 59.4 × 42.7 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

An etching of a person’s face, rendered in dense, expressive black lines. The figure has a stern expression with deeply lined features and windswept hair.
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The Painter’s Mother, 1982, etching, edition of 25, 27.3 × 21 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

A charcoal drawing of a nude, heavyset person standing with their head tilted and one hand resting on their cheek. Their other hand rests on their hip, and they look downwards with a pensive expression.
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Woman Sleeping, 1995, etching, edition of 36, 82 × 67.5 cm, Lucian Freud (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

A charcoal drawing of a person with long hair, leaning their head on their hand with a pained expression. A small, dark floral tattoo is visible on their upper arm.
Above

Woman with an Arm Tattoo, 1996, etching on paper, 59.6 × 81.6 cm, Freud, Lucian (1922-2011) / © The Lucian Freud Archive/Bridgeman Images

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About the Author

Bryony Stone

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Bryony joined It's Nice That as Deputy Editor in August 2016, following roles at Mother, Secret Cinema, LAW, Rollacoaster and Wonderland. She later became Acting Editor at It's Nice That, before leaving in late 2018.

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