Bacon, Francis, English philosopher and statesman

Bacon, Francis, 1561–1626, English philosopher, essayist, and statesman, b. London, educated at Trinity College, Cambridge, and at Gray's Inn. He was the son of Sir Nicholas Bacon, lord keeper to Queen Elizabeth I. Francis Bacon was a member of Parliament in 1584 and his opposition to Elizabeth's tax program retarded his political advancement; only the efforts of the earl of Essex Essex, Robert Devereux, 2d earl of (dĕv`ər
..... Click the link for more information. led Elizabeth to accept him as an unofficial member of her Learned Council. At Essex's trial in 1601, Bacon, putting duty to the state above friendship, assumed an active part in the prosecution—a course for which many have condemned him. With the succession of James I, Bacon's fortunes improved. He was knighted in 1603, became attorney general in 1613, lord keeper in 1617, and lord chancellor in 1618; he was created Baron Verulam in 1618 and Viscount St. Albans in 1621. In 1621, accused of accepting bribes as lord chancellor, he pleaded guilty and was fined £40,000, banished from the court, disqualified from holding office, and sentenced to the Tower of London. The banishment, fine, and imprisonment were remitted. Nevertheless, his career as a public servant was ended. He spent the rest of his life writing in retirement.

Bacon belongs to both the worlds of philosophy and literature. He projected a large philosophical work, the Instauratio Magna, but completed only two parts, The Advancement of Learning (1605), later expanded in Latin as De Augmentis Scientiarum (1623), and the Novum Organum (1620). Bacon's contribution to philosophy was his application of the inductive method of modern science. He urged full investigation in all cases, avoiding theories based on insufficient data. However, he has been widely censured for being too mechanical, failing to carry his investigations to their logical ends, and not staying abreast of the scientific knowledge of his own day. In the 19th cent., Macaulay initiated a movement to restore Bacon's prestige as a scientist. Today his contributions are regarded with considerable respect. In The New Atlantis (1627) he describes a scientific utopia that found partial realization with the organization of the Royal Society in 1660. Noted for their style and their striking observations about life, his largely aphoristic Essays (1597–1625) are his best-known writings.

Bibliography

See his works (14 vol., 1857–74, repr. 1968); biography by L. Jardine and A. Stewart (1999); studies by J. Weinberger (1985) and P. Urbach (1987); D. W. Davies and E. S. Wrigley, ed., Concordance to the Essays of Francis Bacon (1973).

Bacon, Francis, English painter

Bacon, Francis, 1910–92, English painter, b. Dublin. A self-taught artist, Bacon became the center of a storm of controversy with his Three Studies for Figures at the Base of a Crucifixion (1944; Tate Gall., London), which portrayed carcasslike figures on crosses. He painted a series of variations on figural themes, e.g., Van Gogh Goes to Work, Velázquez's Innocent X. Often large in scale, Bacon's works focus on shockingly grotesque and brutally satiric themes. From the 1950s on his images become increasingly distorted and abstract, sometimes merging human and animal forms.

Bibliography

See biographies by J. Russell (1979) and A. Sinclair (1993); D. Sylvester, Interviews with Francis Bacon (1975); Hirshhorn Mus., Washington, D.C., exhibition catalog (1989).

Bacon, Francis

(born Oct. 28, 1909, Dublin, Ire.—died April 28, 1992, Madrid, Spain) Irish-British painter. He lived in Berlin and Paris before settling in London (1929) to begin a career as an interior decorator. With no formal art training, he started painting, drawing, and participating in gallery exhibitions, with little success. In 1944 he achieved instant notoriety with a series of controversial paintings, Three Studies for Figures at the Base of a Crucifixion. His mature style emerged completely with the series of works known as “The Screaming Popes” (1949–mid-1950s), in which he converted Diego Velázquez's famous Portrait of Pope Innocent X into a nightmarish icon of hysterical terror. Most of Bacon's paintings depict isolated figures, often framed by geometric constructions, and rendered in smeared, violent colours. His imagery typically suggests anger, horror, and degradation.