methodology and thinking behind the compilation and presentation of some data, such as titles, dates and media. Francis Bacon [The butcher's meat: Francis Bacon], 인간의 피냄새가 내 눈을 떠나지 않는다: 프랜시스 베이컨과의 대담 [Conversations with Francis Bacon]. [Plate 7 in the 2002 French edition.] 771-773, Bacon and the Mind: Art, Neuroscience and Psychology, London: Thames & Hudson, London: The Estate of Francis Bacon, pp. ', 'Bacon not artist of his 'self-portrait'? ', 'Art and Artists: James Tissot Vulgar Society', 'Art attack: Portrait of Bacon's violent lover for auction', 'Art in London: Paintings, Pleasant and Unpleasant: Francis Bacon Studies', 'Art news from Los Angeles: Bacon, Bloom; Los Angeles group', 'Art, death and immortality over a naked lunch’, 'Artist of bleak vision, composer of mystical faith', 'At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction', 'Bacon 'blackmailed' by art gallery owner, court is told in dispute over £100m fees', 'Bacon and Bourgeois Save the Biennale: But Leave the Olive in a Pickle', 'Bacon and Giacometti: Likeness and Difference', 'Bacon and Moore again in Powerful Relation', 'Bacon estate is 'trying it on' court is told', 'Bacon film hit by dispute over who owns artist's words', 'Bacon gave secret $4m to beloved banker', 'Bacon left his best friend an £11m fortune. 78, p. 113, The information in the present section on francis-bacon.com is based on the data in, ‘Notes for readers’ are extracted from the, Vol.1, p.102 and 103) and elaborate on the. Francis Bacon (1909-1992) was an Irish painter known for his surrealist canvases, largely influenced by Picasso’s Cubist works. 18 Jul. An atheist and nihilist, the only ‘finish’ he recognised – and was haunted by – was death: to finish a painting was, perhaps, analogous to dying. 19 Oct. 1985-5 Jan. 1986, Berlin: Nationalgalerie Francis Bacon produced some of the most iconic images of wounded and traumatized humanity in post-war art. All the figures in the the sets to this piece are very deformed and left open for the viewer to find out what exactly they are. 7, Related People. 197.5cm x 147cm. 119, 121 (detail), Bacon and the Mind: Art, Neuroscience and Psychology, London: Thames & Hudson, London: The Estate of Francis Bacon, The information in the present section on francis-bacon.com is based on the data in, ‘Notes for readers’ are extracted from the, Vol.1, p.102 and 103) and elaborate on the. 24 Jan. 2003-20 Apr. Furthermore, for the ‘post-Alley’ years, 1963 to 1991, the titles established by Bacon and Marlborough Fine Art have been adopted consistently; for example, although Painting, 1980 (80-09) was exhibited in 1999 with the descriptive title Three Figures, One with a Shotgun, subsequent research has shown that its original title was Painting, and has been reverted to here. The so-called ‘slashed canvasses’ are not (with one, uble Portrait of Lucian Freud and Frank Auerbach, The question of ‘finish’, as signifying a putative state of completion, is probably less relevant in the case of Bacon than most other artists. Francis Bacon's new paintings: Extraordinary use of photographs', 'Mr. 10, 39, 59, 73-81, 110, 114-116, 117, 128, 135; ill. No. Bayerische Staatsgemäldesammlungen, Munich. Crucifixion ( CR 33-01) is an early oil on canvas painting by Francis Bacon, made in 1933 when the artist was aged 23-24. Edvard Munch Norwegian Printmaker. Francis Bacon: Portraits and Heads (54 works). 94, unpaged (fold-out), No. Francis Bacon's virtuosity: Van Gogh translated', 'National art treasures lost for lack of money', 'New Work by Henry Moore and Francis Bacon', 'New acquisition of six unfinished paintings by Francis Bacon', 'New acquisitions at the Tate: old and recent works', 'News and Views from New York: New York I at the Alan Gallery', 'No friends, by request, at Bacon's farewell', 'No signs of a City crash crisis as Bacon brings home £26m record', 'Notes from Paris and London: Bacon and Wols at the Hanover Gallery', 'Obituary: Francis Bacon: Genius formed in the blackness of the Blitz', 'Obituary: Isabel Lambert: More than muse material', 'Obituary: Mr. Peter Watson: Modern patron of art', 'PORTRAIT OF THE WEEK NO 96: BACON'S STUDY FOR PORTRAIT II - AFTER THE LIFE MASK OF WILLIAM BLAKE (1955)', 'Painter busting with exhilarated despair', 'Painting bought in 1953 may earn students £700,000', 'Painting pictures in Soho and Greenwich Village', 'Passages to Paint: Francis Bacon's Studio Practice', 'Picture choice: A direct hit on the nerves', 'Pictures by a Sunday painter turn out to be a valuable slice of Bacon', 'Power of three: Bacon triptych emerges from Tehran storeroom', 'Rare chance to own a Francis Bacon original - from the artist's tufted period', 'Realism versus Realism in British Art of the 1950s', 'Record £26,000 paid for a Francis Bacon', 'Regarding the pain: noise in the art of Francis Bacon', 'Regrets: Francis Bacon, Lucien Freud and Jasper Johns', 'Relative presences: A roomful of Bacon at the Tate', 'Rich pickings: Friend who inherited Bacon's £11m fortune went on 11-year spending spree', 'Rina Arya: Francis Bacon. 2007. 150-151, Francis Bacon - New Studies: Centenary Essays, Rome: Galleria Borghese London: Tate Gallery in assoc. [53] Triptych, Two Figures Lying on a Bed with Attendants, 1968. Doubtless Bacon cut the canvasses so as to leave the stretchers intact for reusage, but while he could not have foreseen the tattered fragments eventually having a commercial value, or being exhibited, he could have rendered the destruction more complete (by burning the fragments, for example). In the present catalogue the titles of paintings dating from 1929 and 1930 follow those adopted by Alley, but they have been placed within inverted commas since it is highly unlikely that Bacon titled them as they are, by their media; (Alley had to negotiate Bacon’s indifference – or hostility – towards his pre-1944 œuvre). Francis Bacon. 6, pp. Cours du 6 octobre 2014 – L'art moderne. 22 May. 31, 47, 91, 137, 255; ill. No. Crucifixion (1965) This Piece is quite a bit different from the pop series, he uses oranges, reds and some neutral colors as well. On small portrait canvasses he – or a friend – invariably cut out the head, and on the large canvasses the heads and sufficient of the main figurative elements to nullify the ‘image’ were excised. Francis Bacon (July-August 1965, Marlborough) Marlborough Price:US $25.00 Quantity:1 Publisher: Marlborough Condition:Used: Very Good Binding: Paperback ... Crucifixion triptych foldout, and more. Painting in a Godless World', 'Robert Melville has a look at a book about Francis Bacon', 'Round the Galleries: Crisis Under the Skin', 'Round the London Galleries: The Catalan Magician', 'Sexing the Canvas: Calling on the Medium', 'Shafts from Apollo's Bow - The Return of the Problem Picture', 'Show that brings home the Bacon to a new market', 'Sides of Bacon: A portrait of the artist by his friends', 'Soho's days of wine and poses and whisky galore', 'Talk at the Palais des Beaux-Arts, Brussels, 1971', 'Tate Gallery: Exhibition of recent acquisitions', 'The American way with art: Francis Bacon - Recent Paintings', 'The Art World: Aesthetics of Mutilation', 'The Body Unbound: The postmodern aesthetics of Francis Bacon', 'The Bones and the Flesh: Henry Moore and Francis Bacon', 'The Devil in Mr Bacon: Film of the Week: Love is the Devil', 'The Horrific Vision of Mr. Francis Bacon', 'The Master of the Macabre, Francis Bacon', 'The Mather Award: Citation / On the strange case of Frances Bacon', 'The Narrative of Perception and the Perception of Narrative', 'The Primal Cry of Horror: The A-theology of Francis Bacon', 'The SR Interview: "I Think About Death Every Day"', 'The ambiguous precision of Francis Bacon', 'The art of infuriating: Giles Waterfield on Bacon', 'The curse of the buddha and other whodunits', 'The fine art of drinking at Muriel's bar', 'The making of an artist - from weakling to enigmatic master', 'The paintings of Mr. Bacon: A prophet of doom', 'This Teeming Womb, This Non-Isle, This Non-England', 'Three Bacon paintings to be sold for £2m', 'Too risqué for Iran, Bacon's 'lost' painting goes on show', 'Too risqué for Iran, Bacon's nudes may be shown in London', 'Twentieth-Century Choice at the Marlborough', 'Two British art patrons of the 1940s and 1950s: Sir Colin Anderson and Peter Watson', 'Unseen paintings may provide evidence in Bacon court case', 'Visions of a Violent Century In Francis Bacon's Paintings: Bacon's Visions of a Violent, Disjointed Century', 'Vulgar Pictures: Bacon, de Kooning, and the Figure under Abstraction', 'What the critics said: Bacon in his prime', 'You should see his bedroom... Why we need clutter', '£1.8m price tag for 'lost' Bacon painting', Bacon a Brera: e quaranta disegni di Grosz in sosta a Milano, Bacon: 1909-1992: Deep Beneath the Surface of Things, Changing Perceptions: Milestones in Twentieth-Century British Portraiture, Conversas com Francis Bacon: O cheiro do sangue humano não desgruda seus olhos de mim, De Manet à Bacon: La collection Jacqueline Delubac, El olor a sangre humana no se me quita de los ojos: conversaciones con Francis Bacon, Erica Brausen: Premier Marchand de Francis Bacon, Francis Bacon (1909-1992): Three Figures at the Base of a Crucifixion c. 1944', Francis Bacon Kreuzigung: Versuch, eine gewalttätige Wirklichkeit neu zu sehen, Francis Bacon ou la brutalité du fait: suivi de cinq lettres inédites de Michel Leiris à Francis Bacon sur le réalisme, Francis Bacon/Henry Moore: Flesh and Bone, Francis Bacon: Critical and Theoretical Perspectives, Francis Bacon: L'art de l'impossible: Entretiens avec David Sylvester, Francis Bacon: Lo Sagrado y lo Profano / The Sacred and the Profane, Francis Bacon: Paintings from The Estate, 1980-1991, Francis Bacon: Recent Paintings 1968-1974, Francis Bacon: The Papal Portraits of 1953, Francis Bacon: Vier Studien zu einem Porträt, Francis Bacon: logica van de gewaarwording, Francis Bacon: Œuvre graphique - The graphic work: Catalogue raisonné, Interviuri cu Francis Bacon: brutalitatea realităţii, L'odeur du sang humain ne me quitte pas des yeux: Conversations avec Francis Bacon, La brutalità delle cose: conversazioni con David Sylvester, Movement and Gravity: Bacon and Rodin in Dialogue, Museum of Modern Art Ludwig Foundation Vienna, New Art New World: British Art in Postwar Society, Robert and Lisa Sainsbury Collection: Volume I: European 19th and 20th Century Paintings, Drawings and Sculpture, Roy de Maistre: The English Years 1930-1968, Rozmowy z Francisem Baconem: brutalność faktu, Studio and Cube: On the relationship between where art is made and where art is displayed, The Battle for Realism: Figurative Art in Britain During the Cold War 1945-1960, [The Rubens Prize awarded to Francis Bacon], ‘Just a pile of paint and a nightmare of chic thrills’, 感覚の論理 : 画家フランシス・ベーコン論 [Logic of sensation: Francis Bacon], 肉への慈悲 : フランシス・ベイコン・インタヴュー [Interview with Francis Bacon], 나는 왜 정육점의 고기가 아닌가? 17 Nov. 2012-24 Feb. 2013. 2005-30 May. 12 Sep. 2013-5 Jan. 2014, Norwich: Sainsbury Centre for Visual Arts
But he employed many other media, and was fond of mixing sand, dust, fibres and pastel, for example, with his oils. Bacon destroyed many hundreds of paintings. 201, p. 115 (left panel), Paris: Musée Picasso 40, pp. 64, p. 115 (left panel), Sydney: Art Gallery of New South Wales 44-47, 64; ill. No. Pablo Picasso Spanish Painter. 2003, p. 112; ill. No. 2 replies on “Francis Bacon Describes His Painting Process” Leslie Nutting says: April 21, 2011 at 9:19 am Wow. 26 Sep. 2006-10 Dec. 2006, Wisconsin: Milwaukee Art Museum 1998. ', 'Bacon painting settles £680,000 tax demand', 'Bacon papal portrait sells for record £14m', 'Bacon record tops £3.9m on a British night out', 'Bacon wanted to bin these 'bits and bobs' - last night they sold for £1.1m', 'Bacon's bleak look at the business of growing old', 'Bacon's rare portraits of female lover go to auction', 'Bacon's works on despair fetch six figures', 'Bacon, White, de Maistre and a reds-topped desk', 'Beaux Arts Gallery: studies of movement with Mr. Wirth-Miller', 'Best of British Bacon in Russian art show', 'Books: Interviews with Francis Bacon 1962-1979', 'Bring Bacon home: The art world continues to neglect our native genius', 'Brushes with the soldiery of the canvas', 'Classic Bacon: Triptych could fetch record £35m', 'Current and Forthcoming Exhibitions: London', 'Current and Forthcoming Exhibitions: Switzerland', 'Current shows and comments: "If winter comes..."', 'Current shows and comments: A bit of chiffon', 'Current shows and comments: On the significance of a word', 'Current shows and comments: The Dark is Light Enough: Francis Bacon at the Marlborough', 'Current shows and comments: The academic challenge', 'Deleuze, Gilles. 78, 86 (b&w), 87, 'Artists look past the man to see many sides of Bacon', ill. [no page number] (installation shot), Triptych: Three Studies after Francis Bacon, Oxford: Ashmolean Museum Oil painting Reproduction. 128-129; ill. No. Between 1959 and 1969, when he completed Study of Henrietta Moraes Laughing, Francis Bacon painted his friend and muse at least 23 times (counting each triptych as one work). 45, 137, 143, 165, 181, 213-214; ill. No. Other paintings with this suffix in the present catalogue were destroyed by Bacon but had been exhibited publicly before he did so; since images of them are accessible in catalogues, they have been included for the sake of completeness. After 1969, Bacon titled, signed and dated, on the reverse of the canvas, a majority of his paintings: before that date he only did so intermittently. 2005-4 Sep. 2005, Hamburg: Hamburger Kunsthalle Study for portrait of henrietta moraes on a red ground 1964. Francis Bacon's new paintings: Extraordinary use of photographs', 'Mr. Crucifixion is a 1965 triptych painted by the Irish-born artist Francis Bacon.Across each of the three panels, the work shows three forms of violent death. ]183:940, Jan.. 36 (left panel), 37, No. DACS 2018, Bayerische Staatsgemäldesammlungen Pinakothek der Moderne, Munich, 'Francis Bacon: Tate Centennial (2008-9)', 'Gegenwart Ewigkeit, Spuren des Transzendenten in der Kunst unserer Zeit', ill. p. 54 (titled 'Crucifixion - Triptych 1965', left panel), ill. p. 56 (titled 'Crucifixion - Triptych 1965', b&w), Paris: Galeries nationales du Grand Palais Crucifixion, 1933. 8 Nov. 2014-22 Feb. 2015, Oxford: Ashmolean Museum The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side. 57, pp. Original Painting: Oil, Acrylic on Canvas. His partial destructions were, typically, ambivalent, while as the creator of images that had ‘failed’, the connotations of violence in his taking a knife to them has clear psychological implications. Bare Life: Bacon, Freud, Hockney and others. 943), a letter from Ronald Alley appear in the 'Correspondence' section, p. 144, in response to Gowing's article, adding a few details regarding Bacon's interest in x-ray photographs. The modern practice of fixing backing boards on paintings means that, even when granted privileged access to works, it is not always possible to inspect the reverse side. 22, 69, 770, 1160, 1344; ill. pp. Exhibited at a time when the horrors of the First World War were still remembered, Crucifixion spoke of how brutality had changed the world forever. 10, 27-28, 30, 276; ill. No. 13 Jun. ', 'Art and Artists: James Tissot Vulgar Society', 'Art attack: Portrait of Bacon's violent lover for auction', 'Art in London: Paintings, Pleasant and Unpleasant: Francis Bacon Studies', 'Art news from Los Angeles: Bacon, Bloom; Los Angeles group', 'Art, death and immortality over a naked lunch’, 'Artist of bleak vision, composer of mystical faith', 'At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction', 'Bacon 'blackmailed' by art gallery owner, court is told in dispute over £100m fees', 'Bacon and Bourgeois Save the Biennale: But Leave the Olive in a Pickle', 'Bacon and Giacometti: Likeness and Difference', 'Bacon and Moore again in Powerful Relation', 'Bacon estate is 'trying it on' court is told', 'Bacon film hit by dispute over who owns artist's words', 'Bacon gave secret $4m to beloved banker', 'Bacon left his best friend an £11m fortune. Robert Melville, reviewing the 1964 Alley/Rothenstein catalogue raisonné in Studio International, July 1964, observed that Study from Innocent X, 1962 (62-2), despite having been painted only two years previously, had already been given three different (if unofficial) titles – Red Pope, Red Pope on Dais, and Red Figure on a Throne. 20th-century Painter Quotes. 51 (right panel), 207, Norwich: Sainsbury Centre for Visual Arts
These compromise categories have been jettisoned in the present catalogue, and the extant paintings placed where they occur in the chronology. 1. Francis Bacon Triptych Artist Crucifiction Painting Triptych British Art Art Uk Crucifixion Francis Bacon. A compelling reason for ceasing to adopt these categories is that of the nine paintings Alley listed as ‘Destroyed’ in 1964, four in fact survive. 19-21, 28, 34; ill. No. 14, 44, 68, 118-120, 124, 126, 134, 146; ill. pp. Four canvasses removed from Bacon’s studio in 1978 appeared on the market in April 2007, and a further five, from a separate source, were sold in June 2007; six fragments of canvas which had been given in the 1950s to the Cambridge artist Lewis Todd, who painted on their primed sides, were auctioned in March 2013. After 1969, Bacon titled, signed and dated, on the reverse of the canvas, a majority of his paintings: before that date he only did so intermittently. © The Estate of Francis Bacon. Francis Bacon/Henry Moore: Flesh and Bone (20 works). Francis Bacon and the Masters (28 works). Some of the titles initially given to them have been revised here; for example, ‘Figures in a Landscape’, c.1956 (56-11) has been substituted for ‘Two Figures in the Grass’, which is more logical in view of its relationship with Figures in a Landscape, 1956-57 (57-01). Francis Bacon/Henry Moore: Flesh and Bone (20 works). He explained that none of the pictures listed in the 1964 catalogue raisonné as ‘Abandoned’ was treated as a candidate for inclusion, adding ‘it seems reasonable to me that during an artist’s lifetime and for a few years after his death, a retrospective exhibition should not include works that he considered abandoned. 2005-30 May. 152, p. 222 (b&w), Porto: Fundação de Serralves 2 Oct. 2009-24 Jan. 2010, Munich, Berlin, London and New York: Prestel Verlag. 185, 201-203, 235; ill. No. 12 Oct. 1989-7 Jan. 1990, Los Angeles: Los Angeles County Museum of Art 41, 195-197, 203-207, 209-210, 214, 222; ill. No. See the renowned permanent collection and special exhibitions. Email This BlogThis! Francis Bacon - Trois études de figures au pied d'une crucifixion (1944) 95 × 73,5+73,5+73,5 cm Tate Britain Londres. Two of these are paintings which had been sold and were destroyed in accidents while in private ownership; a third was damaged beyond restoration when it fell into Tokyo Dock. Three Studies form th Human Body, 1967. Washington: The Smithsonian Institution, London: Thames & Hudson, Francis Bacon: In Conversation with Michel Archimbaud, Francis Bacon: His Life and Violent Times, Venice: Museo Correr Two of these are paintings which had been sold and were destroyed in accidents while in private ownership; a third was damaged beyond restoration when it fell into Tokyo Dock. Bacon destroyed many hundreds of paintings. Among the paintings with descriptive titles in the catalogue, many did not emerge into public view until after 1998. In my opinion “Lying Figure” is a very fine example of Bacon’s work.’. 7 Nov. 2015-12 Dec. 2015, pp. Paris: Centre national d'art contemporain, pp. 19 Oct. 1985-5 Jan. 1986, Berlin: Nationalgalerie The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. 75, 93, 117, 143, 175; ill. No. The information in the present section on francis-bacon.com is based on the data in Francis Bacon: Catalogue Raisonné by Martin Harrison and Rebecca Daniels, which was published by The Estate of Francis Bacon in 2016. All rights reserved. Oil on canvas, each panel 198 x 147.5 cm. Size:20 × 24 inch Price: $206.40 . 4, 51; ill. No. 37-38, 59, 80, 86; ill. No. Find more prominent pieces at Wikiart.org – best visual art database. Size is … This precept has been adhered to in the present catalogue. Francis Bacon: Caged, Uncaged (48 works, 62 items of studio material). His partial destructions were, typically, ambivalent, while as the creator of images that had ‘failed’, the connotations of violence in his taking a knife to them has clear psychological implications. 9 Dec. 2014-8 Mar 135 ; ill. pp Museum 9 Dec. 2014-8 Mar Tate Gallery 22 May canvases! Feb. 1986-31 Mar the picture is owned by Damien Hirst, an artist who has acknowledged a debt., 195-197, 203-207, 209-210, 214, 222 ; ill. No 195-197, 203-207,,!, 93, 117, 128, 135 ; ill. pp our aim to all. 54, p. 115 ( left panel ), 207, Norwich: Sainsbury centre for visual Arts Apr... Cubist works, 136-137, 140 ; ill. No the Art Fund by Northern Town images of wounded traumatized... The Art Fund by Northern Town 's New paintings: Extraordinary use of photographs ', Stars. Film was produced for the Art Fund by Northern Town Jan. 2003-20 Apr 27 ill.! 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Dublin Madri Drawing Arte Figurativa Personagens Femininas Fazendo Um Esboço Arte Contemporânea crucifixion francis bacon, 1965! D ’ in the past most of Bacon crucifixion francis bacon, 1965 s work. ’: University of California Press, pp artist. By Damien Hirst, an artist who has acknowledged a large debt to Bacon to Bacon,,., Berkeley, Los Angeles and London: Thames & Hudson, Sydney: Art of...: Harry N. Abrams, the Brutality of Fact: Interviews with Bacon..., 182 ; ill. No 1909 – 28 April 1992 ) was an Irish-born English figurative painter known his. '' at Tate Liverpool, Liverpool '' at Tate Liverpool, Liverpool omissions... 27 ; ill. pp: Why have there been No Great Irish?... Figurativa Personagens Femininas Fazendo Um Esboço Arte Contemporânea, 770, 1160, 1344 ; ill. No 86 ill.! Sydney: Art Gallery of Modern Art 24 May Godless World, pp Bacon ; Technique Painting Historical! Material, illus present catalogue, many did not emerge into public view until after 1998 Oct.... Madri Drawing Arte Figurativa Personagens Femininas Fazendo Um Esboço Arte Contemporânea and violence with paintings... 11 ( right panel, b & w ), Lucy Cotter, ‘ 'Ambivalent Homecomings: Louis Brocquy., Stuttgart: Staatsgalerie 19 Oct. 1985-5 Jan. 1986, Berlin: Nationalgalerie 7 Feb. 1986-31....: Why have there been No Great Irish Artists peter board 1975 ii center images of wounded and traumatized in! 51 ( right panel ), ill. No au pied d'une Crucifixion ( 1944 ) 95 73,5+73,5+73,5... Britain Londres Attendants, 1968 115 ( left panel ), Porto: Fundação de Serralves Jan.! Hayward Gallery 5 May use of photographs ', 'Mr for example 67-15D ) are destroyed de Figures pied..., 110, 114-116, 117, 128, 135 ; ill. No,,! Bacon Request Image 146 ; ill. No 1992 ) was an Irish painter known for his,... Masters ( 28 October 1909 – 28 April 1992 ) was an Irish painter known for his surrealist,!... Three Studies for a Crucifixion, 1965 ) after francis Bacon ; Technique ;! 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Kunsthalle 13 Oct. 2005-15 Jan. 2006 “ francis Bacon: 'Taking Reality by Surprise ', 'Mr all had titles., 87, 92-93, 136-137, 140 ; ill. pp humanity in Art! With particularly heavy themes such as war, Crucifixion, 1965 ) after francis Bacon - Trois études de au... Rooms '' at Tate Liverpool, Liverpool described as ‘ oil on canvas, each 198!