
Sophie de Streel and Josua Dahmen
Blog for and by students and staff in the English section of the University of Namur's Department of Germanic languages...
In 1884 Octavia Hill, an English social reformer, tried to save the beautiful manor house Sayes Court. The owner wanted to give it to the nation, but no organisation existed to accept the gift. This laid the foundation of the National Trust for Places of Historic Interest or Natural Beauty.
The charity was founded with the aim to support and to maintain monuments and sites of public interest. It operates in England, Wales and Northern Ireland but not in Scotland. The Trust’s symbol, a sprig of oak leaves and acorns, is supposed to have been inspired by an ornamental moulding of Alfriston Clergy House. This rare 14th-century house was the first building to be acquired by the National Trust in 1896. A century later the National Trust has become the biggest charity of this type in Europe and the second biggest landowner of the UK. Only the Crown possesses more land.
The National Trust is an independent charity, which raises 70% of its income from visitor’s income, lotteries, donations and legacies. The other 30% of the costs are financed by membership subscriptions. British people who are keen on gardens, old castles and cultural activities can become members of the National Trust. They will have to pay a fee – £53 for an annual membership. However, people can directly donate to the organisation or support a specific project; this is what they call ‘current appeals’. Last but not least, the only way to really get involved in the activities of the National Trust is to volunteer. There is a huge list of possible tasks: working as a gardener or as a visit guide for example. The UK has quite a lot of charities, which are present in each and every aspect of social life. This implies a lot of rivalry, which is the reason why the National Trust uses 11% of its annual budget for publicity and communication as well as for the recruitment of new members.
His first paintings shared fundamental features with the cubist tradition but in 1932 he switched towards a kind of surrealism. His first notable work, Crucifixion, was exhibited at the Mayor Gallery in 1933. The following year he decided to run an exhibition in the basement of a friend’s house but it didn’t meet the success he expected. Profoundly affected by this failure he decided to destroy most of his paintings. However, he continued painting during the Second World War as he was exempt from military service because of asthma. It was only after the war that his works became well-known to the large public.
In 1944, his work Three Studies for Figures at the Base of a Crucifixion revealed the themes that would characterize his future works, such as the mutilated imaginary, anxiety, alienation, and so on. By 1950, he developed a new method which consisted in using photographs taken mainly from newspapers to create his works of art. One of the most famous examples in which he used this particular technique is the Study after Velázquez's Portrait of Pope Innocent X (1953). In this deformed version of Pope Innocent X (1650), Bacon represented a screaming pope whose voice is silenced by the dark drapes, which tries to convey the frustration and the pains of the human being.
In the 60’s, his popularity increased thanks to his retrospective at Solomon R. Guggenheim’s Museum in New York (1963) and to the publication of his catalogue raisonné. In 1964, he met his lover George Dyer, of whom he made several paintings. From the 70’s onwards, his artistic talent became better known around the world with exhibitions in places as far apart as Marseilles, Madrid, Caracas, Mexico and Tokyo. Most of his paintings from that time were mainly triptychs with less aggressive and shocking images.
After a period when many of his close friends passed away, he decided to paint portraits of himself since he had – according to him – "nothing else to do." Study for a Self-Portrait – Triptych (1985-86) resulted from this series of self-portraits and engages in expressing the marks that age and time leave on the body and on the spirit. From an artistic point of view, this work differs from his former ones inasmuch as he used lighter-colours and as he placed his figures more at the centre of his painting. He died of a heart failure on 28th April 1992, in Madrid.