(English / German)
Francis Bacon’s portrait of his first partner Peter Lacy is somehow simultaneously attractive and repulsive. The monumental portrait dating from 1962 was unknown to the public for a long time. Shortly after it was painted, Italian film director Michelangelo Antonioni acquired the work and it remained in private hands for decades. This is a key work, created at a turning point in Bacon’s oeuvre. Markus Rath embeds the painting into Bacon’s visual world for the first time. The English painter reveals a biographically oriented representationalism in the portrait, concentrating his compositional arrangement on the stage-like interior and forcing a contrast between the two-dimensional ground and the colour-saturated figure – these are pioneering approaches to composition that shaped his late work decisively.

Anziehend und absto�end zugleich ist Francis Bacons Bildnis seines ersten Lebenspartners Peter Lacy. Das monumentale "Portrait" aus dem Jahr 1962 war lange Zeit vor der �ffentlichkeit verborgen. Kurz nach seiner Entstehung erwarb es der italienische Regisseur Michelangelo Antonioni und es blieb jahrzehntelang in Privatbesitz. Dabei entpuppt es sich als ein Schl�sselwerk, das an einem Wendepunkt entstand. Markus Rath f�hrt erstmals diese Str�nge zusammen und bettet das Gem�lde in Bacons Bildwelt ein. Der englische Maler bekennt sich darin zu einer biografisch orientierten Gegenst�ndlichkeit, konzentriert sein kompositorisches Schema auf den b�hnenartigen Innenraum und forciert den Kontrast zwischen fl�chigem Grund und farbges�ttigter Figur – wegweisende kompositorische Verfahren, die sein Sp�twerk entscheidend pr�gen sollten.

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Markus Rath, University of Trier.

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