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Amazon.co.uk Review
Sylvester's commentary on the paintings is consistently incisive, using both his personal knowledge and his intellectual acumen. Sympathetic to artistic and biographical context, he writes informatively on Bacon's techniques, which included a preference for working from photographs and reproduction, painting on the reverse of a canvas, and insisting on his works being glazed. If he possibly over-ranks Bacon in a pantheon of classical painters, he justifies his supremacy as the British image-maker of the post-war period. The familiar themes--the ambiguity of the gaping mouths (screaming? yawning?), crucifixions, popes (Sylvester believes they represent Bacon's father--the artist would not commit), convulsion, spaceframes--reward keen reconsideration, before a series of short, thematic asides, much in the keeping with the fragmentary nature of art with which Bacon identified in TS Eliot, and which he embraced in his own work. Previously unpublished morsels of conversation are tantalisingly illuminating, the biographical note discreetly succinct--Sylvester leaves the Soho prattle to Daniel Farson's The Gilded Gutter Life of Francis Bacon--and the quality of the reproductions, including 12 fold-out triptychs, is superlative. Sylvester does himself an injustice when he frets that Bacon will not be understood until there can be a full, definitive catalogue, including "lost" works. Until that day, it's a pleasurable hardship to make do with Sylvester's rich and subtle readings, in which by looking back at Bacon's life, he gives us something of his own. --David Vincent
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--Alan Wall, The Art Newspaper
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There isn't a lot of Bacon and Soho, (for more on that I feel you would need to read The Gilded Gutter Life of Francis Bacon) but there is enough in here to keep those, interested in Bacon and his achievements, happy. The fold-out triptychs are excellent.
This is definitely a book to have if you have an interest in Bacon.
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