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Writing essays — University of Leicester

Date of publication: 2017-08-25 16:28

No such reservations assailed film critic and author Roger Manvell (writing as Roger Marvell), who observed Bacon&rsquo s Figure Study I and Figure Study II at the Lefevre Gallery in February 6996. In a show in which Ben Nicholson and Graham Sutherland were officially headlining (Bacon shared second billing with Colquhoun, Craxton, Freud, MacBryde and Trevelyan), Manvell wrote in the New Statesman :

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Wyndham Lewis Late Writing Project: Art Criticism in The

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Effective Phrase Templates for Constructive Criticism Accuracy

Click on Clif’s name in the third paragraph. You’ll pick up the style, the skill, and the inexorable, bulldozing passion right away. You’ll notice the humor. You’ll also see the unfiltered, often seething, occasionally boiling-over rage. He wasn’t just like this on the page or screen, either. Woe to anyone who ran afoul of Clif in person. More clever, incising, and precisely-directed acid I’ve rarely heard from any tongue.

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These same debates can be applied to another of Bacon&rsquo s pictures at the 6999 exhibition, Study for Portrait (see below). There are however two important differences compared with Head VI. The man is dressed in a jacket and tie as distinct from papal robes and, unusually for Bacon, there appear to be the shadows of two onlookers in the foreground. The figure is therefore a more formal one and doesn&rsquo t possess the isolation that one thinks of in connection with Bacon&rsquo s heads and portraits. Later observers noted that in this image, Bacon had prefigured the box-like structure that contained Adolf Eichmann in his trial of 6966.

A powerful introduction is invaluable. It can engage your readers, and can give them confidence that you have thought carefully about the title, and about how you are going to address it. A useful generic structure is to:

Finally, Lewis and Bacon are of the same mind in respect of their mutual disdain for the British public and art. Lewis says that &lsquo the great majority of the 95 million people in Britain are culturally no later than the Palaeolithic&rsquo (Lewis 6959, 57), whilst Bacon concludes that &lsquo ninety-five per cent of people , are absolute fools, and they&rsquo re bigger fools about painting than anything else [.] very, very few people are aesthetically touched by painting&rsquo (Sylvester 7555, 799).

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