"Mankind desires sensation without the boredom of its conveyance" - My favorite Bacon quote.

"I don't regard myself as gifted, just receptive." I love that line, and Irons' delivery is beautiful, with the short pause before the next cut. The whole piece is very thoughtful, and well edited.

The magic is not really magic. It's just honesty.

When I was 25 I never thought I would see 30 But now I'm 48. So all I feel now is lucky for every day. Every morning. If you survive by just luck It makes life seem very new in older age.

Ultra personal. That is what this is all about.

Wow I just discovered this as I was searching for Jeremy Irons narrations. amazing 🤗

I've always loved other people's work more than my own. Because I love to see something that is not the same as me. And then I fall in love with the other. But only the other I know I love.

4 years later...brilliant!

Beautiful!

Jeremy, I was stunned to see you with your motorbike helmet, in West Wycombe one day at the Gallery run by the National Trust. I so love this evocation of Francis Love will never leave us alone Painting either. Best wishes, Henry

Even though the act itself was so personal and private I love how open and generous Francis also could be. Because he took on the nonsense of mystery head on. He never denied it. But tried his best to speak it.

MORE OF THIS !!

He was a person who accepted that everything could and at any minuite. So also turned that acceptance Into a love of life. It is brave to love being alive Yet also know that it's open to ending at any time. You love yet you know. We are all really like a pain of glass. That can be smashed at any time.

Nothing against Mr. Irons but when ever did Francis Bacon need anyone to make his words come alive! Who was more alive than Francis Bacon!

Breathtaking..!!!

I just keep Thinking of scar saying this......🤔🤔 Phenomenal 👏👏👏

brilliant!

Nobody is going to rescue myself. But that's really ok. Really quite fine. In a strange way it almost makes sense. When you comppare it to other horrors. It makes perfect sense. And so it should.

Of course most celebrate and love the tiny time we have here. Because it's all we have. It's quite normal in fact. Like playing the only record you have. We don't have other options.

¡qué belleza ! ¡ qué hermosa lectura , propia de un actor de raza!

Wonderful

The work I always love really is based in passion. I only want to look at passion. Anything else is just cold and dead. It means nothing.

Francis is best at his own words. With respect we don’t need an actor to take on his words ... let the artist’s voice be heard.

You are such a star

This is a real painter. It's that real.

Indeed. The longer you live. The more you know and don't know. What a glorious state to be involved in A state that has no state really. Because even the most aware human only thinks he or she is The eternal mystery.

멋집니다~~~~

👏👏👏👏👏👏👏

Hello Liz..van-gough---the second day. Version 2.

Al menos lo he intentado.

words full of wonder...hideous elevator music!!!

We all tend to forget to hear that paintings are primarily musical compositions (essentially non-narrative symphonies) rather than visual images. Surprisingly, for the Popes of Bacon, I would chose 'Sinfonia da Requiem', Op. 20, 1940, by Benjamin Britten in and 'Fratres' (1991 Version for String Orchestra and Percussion) by Arvo Pärt; the so-called 'screaming popes' are actually tragically tranquil and sedately serene and curiously clam; but all this is entirely subjective; so neither 'right' nor 'wrong'. I also hear Vaughan Williams's 4th Symphony (1934) & Vaughan Williams's 6th Symphony (1944) in Bacon's 'Three Studies for Figures at the Base of a Crucifixion' (1944). But the main composer l always associate most strongly with Francis Bacon is the Swedish composer, Allan Pettersson (9 September 1911 - 20 June 1980) - a vastly underrated and underplayed composer; I just noticed someone on KZfaq posted up Allan Pettersson's 6th Symphony juxtaposed with Bacon's 'Fragment of a Crucifixion', 1950; do check it out. Allan Pettersson is an ideal composer for 'listening' to when 'listening' to Francis Bacon imagery with both sharing the same similar strident sound world of primordial pulsations and putrefactions as especially heard in Pettersson's 7th, 8th and 9th Symphonies. I also think Arnold Schöenberg's 'Pélleas und Melisande' op.5, (1903); and Arnold Schöenberg's 'Transfigured Night, Version for Full String Orchestra' (1917) 'go well' with Bacon's sound-palette; as does Alban Berg's 'Three Pieces for Orchestra', Op. 6, 1913-1915; and Edgard Varèse,s 'Amériques' (for huge orchestra with sirens)1918-1921, Edgard Varèse's 'Intégrales' (1923), and lastly Edgard Varèse's 'Arcana' for large orchestra (1925-1927) are all paradigmatic Bacon sound-worlds.

If you leave this world like millions of others..not thinking. Not caring. Not questioning . Then you are only a moving nothing through existance. A second in time That's loud and ignorant Then forgotten and replaced like for like. Just like everyone else. You live out how you should be. Perfect control.

This has elements--for me of the film "the matrix". You are either plugged into what you think is reality on this particular one planet. Or you dare to be outside it. It's all everyone here knows. So its no wonder the mainstream is considered all there is to be . Like a fish that knows it's fish bowl. And will defend the fish bowl. Of course it does.

El secreto

Surely an intelligent person can see the past the now and the future with a sense of dread---because the bad side of humanity never goes away. Past history horror is also modern history horror. I want to shake the fools into some kind of sense. It's an endless repeat of the past.

A great actor reads the words of a great painter. Somehow, it doesn’t work, despite the skill on display. The despair of a gambler who knows all is lost isn’t there.

A dream often contains many elements that make no sense to the waking person. But are 100% it in that state. A dream is not something modern. And nobody knows why they exist. Animals also dream.

Someone in Kentucky should get a show together For what they know exists.

1989/90

It's strange but true That most people fight an end That is always going to be an end for them. Like small mice waving an agitated arm despite having no control over the outcome. I don't want to die etc. Even though the outcome ends up the same for everyone It gets replayed every day And always will do.

Klatsch n Preis dran! 😊

If you boil this right down to its essence . It's a way of saying Don't be caught up with the bullshit Of who and how you may think you should be. If you are just a critic and not a creator. That's the easy way out. You risk nothing. To make nothing. Yet claim to know everything about creating. Is so easy. it's food for so many. Nothing is as safe as the life of a critic.

I´m extremely troubled by this video. The wishy washy feel good music. A man who´s trying very hard to sound profound. Bacon´s thinking is VERY CLEAR and already is profound by itself. By stuyding some actual footage of Bacon himself one finds he talks in very clear and concise manner....not like some sort theatre actor who´s trying too hard. And I´m not surprised Sotheby´s produced this......they´re raping the art world already....even lending money to bidders to artificially up the prices.

I have at the very least tried.

This is almost too powerful.

Replace painter with actor and the man narrates his life… moving

Mi biblia

Jeremy Irons presents Bacon as a cocksure Alpha male philosopher...but he had a very vulnerable quality even when being emphatic.

You get people that look at art and don't understand anything . So it's no suprise to Me that's that it's overlooked and not understood.

It's hard to continue When you are surrounded by pretence dressed up in that circle of what's called the cutting edge. The cutting edge is considered a place. Not an individual. It's a modern neat place that fits. Not the true life lived.

It's as if he really knew that a bullet through the brain ends everything. But despite this he wanted to fight for people in a desperate place emotionally .

Compared to football Art--is way down the list on the mainstream. And that's actually because of the mainstream. It's nothing personal on the mainstream. Just a factual observation. The mainsteam is simple. And in large numbers. So it's not really a surprise. Average intelligence in large numbers will create what is seen as normal.

Why does one person just see outside ? And have no questions. Yet another person will be full of questions ? Perception can put the two as opposites. I think only a true idiot thinks they know everything. But sadly such people exist. Hence we have egos and war.

Peppiatt stated: "I didn't dare go and knock." But why not? Why couldn't Peppiatt just go and knock on Giacometti's door and talk to him? I was looking at my most recent sculptures and it was obvious thatt hey were far superior to the sculptures of Giacometti which are so embarrassingly bad, and no one really likes them, but art critics have to pretend to becuase they are obliged to just as they pretend to like de Kooning because they are obliged to. I am still waiting for Peppiatt to knock on my door but I don't think he dare knock: but it is his loss, not mine.

no no this is not right you cant reinvent a person thats conceived

he shoulda been drunker

We all tend to forget to hear that paintings are primarily musical compositions (essentially non-narrative symphonies) rather than visual images. Surprisingly, for the Popes of Bacon, I would chose 'Sinfonia da Requiem', Op. 20, 1940, by Benjamin Britten in and 'Fratres' (1991 Version for String Orchestra and Percussion) by Arvo Pärt; the so-called 'screaming popes' are actually tragically tranquil and sedately serene and curiously clam; but all this is entirely subjective; so neither 'right' nor 'wrong'. I also hear Vaughan Williams's 4th Symphony (1934) & Vaughan Williams's 6th Symphony (1944) in Bacon's 'Three Studies for Figures at the Base of a Crucifixion' (1944). But the main composer l always associate most strongly with Francis Bacon is the Swedish composer, Allan Pettersson (9 September 1911 - 20 June 1980) - a vastly underrated and underplayed composer; I just noticed someone on KZfaq posted up Allan Pettersson's 6th Symphony juxtaposed with Bacon's 'Fragment of a Crucifixion', 1950; do check it out. Allan Pettersson is an ideal composer for 'listening' to when 'listening' to Francis Bacon imagery with both sharing the same similar strident sound world of primordial pulsations and putrefactions as especially heard in Pettersson's 7th, 8th and 9th Symphonies. I also think Arnold Schöenberg's 'Pélleas und Melisande' op.5, (1903); and Arnold Schöenberg's 'Transfigured Night, Version for Full String Orchestra' (1917) 'go well' with Bacon's sound-palette; as does Alban Berg's 'Three Pieces for Orchestra', Op. 6, 1913-1915; and Edgard Varèse,s 'Amériques' (for huge orchestra with sirens)1918-1921, Edgard Varèse's 'Intégrales' (1923), and lastly Edgard Varèse's 'Arcana' for large orchestra (1925-1927) are all paradigmatic Bacon sound-worlds.