Noor, Tausif. " Behind the Hedonist Persona of Francis Bacon". The Nation, 9 June 2021. Retrieved 30 January 2022. In March 1626, Bacon was performing a series of experiments with ice. While testing the effects of cold on the preservation and decay of meat, he stuffed a hen with snow near Highgate, England, and caught a chill. Ailing, Bacon stayed at Lord Arundel's home in London. The guest room where Bacon resided was cold and musty. He soon developed bronchitis. On April 9, 1626, a week after he had arrived at Lord Arundel's estate, Francis Bacon died. The imagery of the crucifixion weighs heavily in the work of Francis Bacon. [58] Critic John Russell wrote that the crucifixion in Bacon's work is a "generic name for an environment in which bodily harm is done to one or more persons and one or more other persons gather to watch". [59] Bacon admitted that he saw the scene as "a magnificent armature on which you can hang all types of feeling and sensation". [60] He believed the imagery of the crucifixion allowed him to examine "certain areas of human behaviour" in a unique way, as the armature of the theme had been accumulated by so many old masters. [60] Peppiatt, Michael; Priseman, Robert (2009). The Francis Bacon Interiors: Michael Peppiatt in Conversation with Robert Priseman (PDF). Seabrook Press. p.23. ISBN 978-0-9562082-2-4.

Marczynski, Joe (9 September 2021). "A Writer's Deathbed Portrait of Francis Bacon". The New York Times. ISSN 0362-4331 . Retrieved 4 November 2023. Francis Bacon, (born January 22, 1561, York House, London, England—died April 9, 1626, London), lord chancellor of England (1618–21). A lawyer, statesman, philosopher, and master of the English tongue, he is remembered in literary terms for the sharp worldly wisdom of a few dozen essays; by students of constitutional history for his power as a speaker in Parliament and in famous trials and as James I’s lord chancellor; and intellectually as a man who claimed all knowledge as his province and, after a magisterial survey, urgently advocated new ways by which man might establish a legitimate command over nature for the relief of his estate. Life Youth and early maturityAkbar, Arifa. "Inside the Mind of Francis Bacon" [ dead link]. The Independent (London), 25 April 2007. Retrieved 29 July 2007. Rump, Gerhard Charles. Francis Bacons Menschenbild. In: Gerhard Charles Rump: Kunstpsychologie, Kunst und Psycoanalyse, Kunstwissenschaft. (1981), pp.146–168 ISBN 3-487-07126-6 Letter by Bacon to G. Sutherland, 30 December 1946, Monte Carlo, National Galleries and Museums of Wales.

Whenever someone in the fire of avenging the other kills him, no doubt, revenge triumphs over death but the love insults it. We have heard about the story of King Otho who killed himself. His subject overwhelmed to mourn and drove some of them to suicide. To Bacon, death serves to be vindictive to love as it is considered to be the link between the dead and the one whose heart is filled with love. As Bacon's work moved from the extreme subject matter of his early paintings to portraits of friends in the mid-1960s, Dyer became a dominating presence. [42] Bacon's paintings emphasise Dyer's physicality, yet are uncharacteristically tender. More than any other of Bacon's close friends, Dyer came to feel inseparable from his portraits. The paintings gave him stature, a raison d'etre, and offered meaning to what Bacon described as Dyer's "brief interlude between life and death". [43] Many critics have described Dyer's portraits as favourites, including Michel Leiris and Lawrence Gowing. Yet as Dyer's novelty diminished within Bacon's circle of sophisticated intellectuals, Dyer became increasingly bitter and ill at ease. Although Dyer welcomed the attention the paintings brought him, he did not pretend to understand or even like them. "All that money an' I fink they're reely 'orrible," he observed with choked pride. [44] Biographers believe that Bacon received an education at home in his early years, and that his health during that time, as later, was delicate. He entered Trinity College, Cambridge, in 1573 at the age of 12, living for three years there with his older brother Anthony. Bacon said that he saw images "in series", and his work, which numbers in the region of 590 extant paintings along with many others he destroyed, [4] typically focused on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on single motifs; including the 1930s Picasso-influenced bio-morphs and Furies, the 1940s male heads isolated in rooms or geometric structures, the 1950s "screaming popes," the mid-to-late 1950s animals and lone figures, the early 1960s crucifixions, the mid-to-late 1960s portraits of friends, the 1970s self-portraits, and the cooler, more technical 1980s paintings. Peppiatt, Michael. Francis Bacon in the 1950s. London: Yale University Press, 2006. ISBN 0-300-12192-X

Of Death

Tate. "Francis Bacon (1909–1992) – Tate". Archived from the original on 16 February 2017 . Retrieved 29 January 2017. Francis Bacon: A Brush with Violence". bbc.co.uk. 28 January 2017. Archived from the original on 29 January 2017 . Retrieved 29 January 2017.