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PDF generated using the open source mwlib toolkit. Senna began his motorsport career in karting and moved up the ranks to win the British Formula 3 championship in Making his Formula One debut with Toleman in , he moved to Lotus-Renault the following year, and won six Grands Prix over the next three seasons. Between them, Senna and Prost won fifteen out of the sixteen Grands Prix which took place that season, with Senna winning his first World Championship, a title he would go on to win again in and McLaren's performance declined in , as the Williams-Renault combination began to dominate the sport, although Senna won five races to finish as runner-up in He moved to Williams in , but suffered a fatal accident at the third race of the season at the Autodromo Enzo e Dino Ferrari in Italy.

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Francis Bacon News. Milein Cosman obituary. Artist who sketched some of the greatest cultural figures of the 20th century including Benjamin Britten, TS Eliot and Barbara Hepworth. Francis Bacon, drypoint and monotype, , by Milein Cosman. Milein Cosman, who has died aged 96, drew many of the greatest artistic names of the 20th century. She drew primarily from life, and her subjects were mostly artists of various kinds, and above all musicians. Into this she was led by a love of music, but also by her almost year-long collaboration with her Viennese husband, the musician, musicologist and broadcaster Hans Keller.

Their book Stravinsky at Rehearsal , which combined his words with her drawings, is a classic of a genre they largely devised themselves; he analysed the music, while she captured the musicians in the midst of its creation. If I draw slowly, I almost always get it wrong. I think all the Stravinsky sketches were done in one day. Yes, it must be said, that really a lot of people have quite wonderful faces. In she followed her brother, who was already installed in Scotland, to Britain.

Refugee was not the only label she refused to accept. After she gained entry to the Slade School of Fine Art — by turning up in person with her portfolio — she lived in a leaky garret behind the Ashmolean museum, Oxford, where the Slade was evacuated for the duration of the war. She supported herself by delivering milk with a pony and trap and teaching French at a convent school.

This was the first lithograph Milein made, and demonstrated her ability to get under the skin of her subjects, to perceive more than perhaps they were aware of exposing. While at Oxford, she met a constellation of musicians, artists and writers. He was not the last poet to be struck by the tiny, lively-minded woman with birdlike movements and sharp intelligence. Milein moved to London at the end of the war, where she worked as an illustrator and began to submit sketches to magazines and newspapers.

She had the face of a Flemish Madonna. In , while working on a commission, she met Keller, who became her most frequent subject; his keenly angular, impish face adorned the small spaces of wall between the vast living-room windows of the Hampstead house which they bought in the s, and where Milein stayed on alone after his death in With its unfolding rooms — French windows and a kitchen verandah giving on to a long front garden scattered with fruit trees — it had a German ambience often enhanced by the aroma of fresh poppyseed cake wafting through the open-plan modernist interior.

As a sideline she devised a series of animals to which she added ludic descriptions: a Bird Flautist, Dancing Kangaroos, Dream Camels. In she established the Cosman Keller Art and Music Trust to support education in these fields, and to preserve her work and that of her husband.

It has recently bequeathed her drawings and prints of musicians to the Royal College of Music in London, drawings and prints of dancers to Salzburg University and a selection of drawings and prints to the arts academy in Berlin.

An exhibition of her work is due to be held at Clare Hall, Cambridge, in Milein is survived by three nieces and a nephew. Milein Cosman, artist, born 31 March ; died 21 November Milein Cosman at the opening of her exhibition in London in Francis Bacon - Portrait This landmark exhibition of paintings opens in London at the end of February It has since remained in private hands and has not been exhibited for over half a century. The portrait shows an anxious looking, bare-chested image of a human figure, curled up in the corner of a darkened room, partly illuminated by a single light bulb.

The portrait was over six feet high and was originally part of a three-piece panel, which the artist later made into three separate paintings. The portrait, last exhibited in , shows a scowling face of Peter, seated nude with all his internal organs bursting through his skin.

John Minihan's iconic photo archive acquired by UCC. UCC Library has secured the photographic collection and archive of the photographer, John Minihan, boasting some of the most memorable photographic images from the last century. Francis Bacon, Photograph: John Minihan.

The sell-through rate was an impressive While neither work had ever before been offered at auction, they both failed to capture the interest of the salesroom. Both were subject to third-party guarantees. Here tonight, there was nothing that came close to that Basquiat in terms of price or excitement.

But after a throat-clearing stretch of 24 works from the Diamonstein-Spielvogel Collection—nearly all low-priced work on paper—the sale began in earnest with an untitled work by Laura Owens, who has a wildly acclaimed show that just opened at the Whitney Museum in New York. The work was only seen in public shortly after it was completed — firstly in London in and then in Hamburg and Stockholm in Bacon and Freud had a deep and complex friendship and were often viewed as artistic rivals.

The portrait that will be shown at Tate Britain next year is an angst-ridden image of the human figure, bare-chested and curled into the corner of a dark room beneath a single lightbulb. The painting stands over six feet high and was originally part of a triptych which Bacon then split into separate works. It shows him seated with a scowling expression and is the first time Bacon portrayed the nude body with its internal organs on display, seemingly bursting through the surface of its skin.

An extraordinary Bacon triptych from , on loan from a private collection, will also be exhibited for the first time in a UK public gallery in over 30 years. This major exhibition will celebrate how artists have captured the intense experience of life in paint, portraying personal and immediate experiences.

Lucian Freud. The painters had a deep and complex friendship, and were often seen as rivals. The painting, now in private hands, was originally part of a triptych which Bacon then split into separate works. It will also examine the role of women artists in the traditionally male-dominated field of figurative painting.

Optimism abounds heading into November auctions. Discretionary sellers gain confidence in the market and Christie's leads its contemporary sale with a year old Leonardo di Vinci. But recent overreaches sound a cautionary note. After encouraging results in London in October, the auction houses are approaching their key November sales of Impressionist and Modern and contemporary art with optimism.

Contemporary evening sale, 16 November. On the contemporary side, Sotheby's is offering a Francis Bacon triptych of George Dyer, one of five extant and one of three in private hands, bought by the consignor in , the year after it was painted. What to expect from New York's November auctions. These major sales will dominate opinion on the market's health as a whole. There are several juicy offerings this year, again squeezed into one week November , so the formula must have worked.

Francis Bacon. Marlborough Fine Art Ltd. Three Studies of George Dyer, By Martin Harrison. Invariably painted on relatively small, 14 x 12 inch canvasses, he produced these subjects as single panels and diptychs, as well as triptychs. In contrast to the large canvasses, in which the spatial settings and more complex pictorial schemas of full-length figures afforded greater scope for variation, the portraits are remarkably consistent in their formal conception. This is manifestly true of the paintings of Peter Lacy, made between and , and those of George Dyer painted from to With virtually no conventional training, Bacon was forced to invent a technical repertory attuned to his expression.

This is often characterised as painting in a thick impasto, but he developed a much more elaborate range than that. Bacon sought immediacy — he was keenly aware that boredom of execution would translate as apathy in the mind of the beholder: in this sense the shorthand techniques he developed are analogous to his determination to convey sensation in his paintings and avoid overt narratives.

The grounds of each panel are rich in linseed oil, dense black voids that, contradictorily, also oscillate with light reflected from their textured surfaces. The paint is applied in rapid, enervated sweeps, in arcing strokes of slippery, mixed colors, flicked from the wrist, that partly obliterate the hot skin tone. Arbitrary patches of coagulated black paint have been impressed with a variety of fabrics — to form a textured substance that is a classic Bacon anti-illustrational shorthand device.

The outer panels, which vibrate with the restless motion of the paint, flank a pitiless frontal view of Dyer. Bacon was motivated to paint by love however elusive or transitory and sex, which were underpinned by a personal philosophy that can be partly defined as anti-religious, nihilistic, Nietzschean. Appearing in over forty paintings, with as many created following his death as executed during his lifetime, Dyer possesses a commanding presence unlike any other.

Just as a gunshot sometimes leaves an after-echo or parallel report, so these small concentrated heads carry their ghosts within them. This full range of emotional and psychological heat seethes beneath the richly textured surface of the present work. Exquisite tones of navy and violet sweep in graceful swaths and bold brushstrokes against a rich palette of brick red, apricot and lilac.

Elegant impressions of corduroy and torn cloth imprint vigorous patterns onto the surface of the face, lending texture to and asserting the flatness of these indelible works. Bacon seems to make the case against any singular perspective on the individual, instead privileging a layered understanding of the human psyche.

The paint-structure was by turns brusque and sumptuous, lyrical and offhand, pulpy and marmoreal. Divorced from the natural world, the distorted and vivid tonal spectrum coalesces into an almost dreamlike picture. With obscured eyes, curved noses, hollowed jawlines and torqued lips, Bacon has portrayed a deep introspection in an arresting and raw color palette.

Indeed, Bacon reached the culmination of his career at the beginning of the s, honored with a one man show at the prestigious Grand Palais in Paris. The degree to which Bacon was consumed by grief, loss and guilt would find equal measure only in the posthumous paintings of Dyer. The creative fecundity of these seminal years, both the decade prior to and following , is predominantly owing to the abiding and all-consuming impact of George Dyer.

Painter Francis Bacon commemorated with a blue plaque. Painter Francis Bacon has been commemorated with a blue plaque at the "insanely eccentric" mews home where he produced some of his greatest works. The artist, who was known for his bold and shocking figurative style, lived at the studio in South Kensington, west London, from to his death in English Heritage unveiled the blue plaque at the converted Victorian coach house, 7 Reece Mews, on the th anniversary of his birth.

The tiny studio, situated on the first floor, was a scene of chaos but where Bacon felt he worked best. He used the walls to mix paints and used paint tubes, brushes and rags were strewn across the floor and covering every surface.

Author and broadcaster Melvyn Bragg, who knew Bacon well, said: "It's a great idea to put up a blue plaque for Francis Bacon at the idiosyncratic, almost insanely eccentric, tiny upstairs flatlet in which he did some of his finest work. I'm sure he would have loved it.

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He was highly athletic, excelling in gymnastics and other sports, and developed an interest in cars and motor racing at the age of four. Senna also suffered from poor motor coordination and had trouble climbing stairways by the age of three. An electroencephalogram EEG found that Senna was not suffering from any problems. His parents gave Senna the nickname "Beco". He later enrolled in a college that specialised in Business Administration but dropped out after three months. Senna started racing karts at Interlagos and entered a karting competition at the age of Senna faced rivals who were some years older than him but managed to lead most of the race before retiring after colliding with a rival.

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