Bacon and Moore at the AGO

Danica and I were among the first to see this important show, which opened today at the Art Gallery of Ontario and runs until July 20th. Of course, Torontonians are privileged to own a large collection of works by Henry Moore, but this was my first viewing of Francis Bacon‘s work, other than in reproduction.
So Bacon first. The AGO has had to display the huge, framed canvases behind shiny glass and has been unable to light them satisfactorily. Reflections of the surrounding gallery, patrons and lights make viewing difficult. It’s bad enough to be serious problem, especially for Bacon’s darkest pictures, which act as mirrors. Too bad.
But go anyway, because Francis Bacon was a skilled craftsman, as you can see if you get up close. Big, bold brush strokes are applied with practiced certainty and the colour choices are very smart.
Bacon’s subject matter is carnal, homosexual and horrific, so don’t go to see pretty pictures. “That’s an arsehole if I ever saw one,” I heard a viewer say about one sprawling, meaty figure on a bed.
Moore, like Bacon, lived through the bombings of England in World War II and he too uses imagery of mutilated, mangled human bodies, but in a completely different way. Bacon’s art is full of loathing. Moore’s is much more loving. Even though fallen and broken, Moore’s figures somehow retain their dignity and beauty.
Both Bacon and Moore raided art history, taking whatever they could use. Moore’s style looks at home with Inuit carvings, ancient Mayan, archaic Greek, Egyptian or even Stone Age sculpture. I laugh to think that people used to call it “modern” art.
Bacon admired the best of Spanish painting, stealing from Velasquez, Goya and Picasso. In the case of his Screaming Popes, he literally quotes Velasquez portraits.
Neither Moore nor Bacon were religious believers, but both of them were drawn to the subject matter of the crucifixion. For Moore, the subject belonged to his larger theme of human suffering. For Bacon, it is another example of humans being cruel to each other. There are erotic implications, too, for Bacon.
The idea of placing these two 20th century artists together in one show was a brilliant one. Comparisons and contrasts expose much about both of them. Do make time to go. We spent 2 hours that whizzed by. I will probably make a return visit before July, next time with sketchbook in hand.