The Foundation supports and takes part in the organisation of exhibitions dedicated to Francis Bacon, in conjunction with local and international institutions. By offering its expertise and agreeing to loans, our foundation assists in staging these individual or collective exhibitions.

Face to Face. Fernand Léger and his Friends

Face to Face. Fernand Léger and his Friends

Musée Fernand Léger, Biot 14 April – 17 September 2018

The Francis Bacon MB Art Foundation takes part in an exhibition at the musée national Fernand Léger.

Our Foundation supports the exhibition ’FACE TO FACE. FERNAND LÉGER AND HIS FRIENDS’ presented from 14 April to 17 September 2018 at the musée national Fernand Léger in Biot, on the French Riviera.

The musée national Fernand Léger is pursuing its exploration of Léger’s relationships, both personal and artistic, with other artists of the time. By placing works from the museum’s collection in dialogue with a selection of works created by major painters and sculptors of the European avant-garde, the exhibition reveals the mutual influences between Léger’s work and that of his contemporaries, in the context of the artistic hot bed of the early 20th century.

The meaning of the term “friend” has been enlarged to embrace the question of Fernand Léger’s legacy; his work, in fact, became a rich source of inspiration for major artists of the second half of the 20th century such as Roy Lichtenstein or Francis Bacon. Despite generational differences, these artists established a strong link, both intellectual and aesthetic, with their famous predecessor.

The Francis Bacon MB Art Foundation takes part in this exhibition alongside the Musée National d’Art moderne in Paris, the Villa Arson in Nice, the Fondation Maeght in Saint-Paul de Vence and the Fondation Louis Vuitton in Paris.

On this occasion our institution is lending Bacon’s first known work entitled ‘Watercolour’ (1929) and a rare rug designed by the British artist and dating from his short career as an interior and furniture designer at the turn of the 1930s.




Fondation Beyeler, Basel 29 April – 2 September 2018

A Francis Bacon - Alberto Giacometti exhibition at the Fondation Beyeler in Basel.

The Francis Bacon MB Art Foundation is taking part in the “Bacon - Giacometti” exhibition held at the Fondation Beyeler in Basel from 29 April to 2 September 2018. The exhibition is organised by the Fondation Beyeler in cooperation with the Fondation Giacometti, Paris.

This ambitious exhibition is the first to study in depth the parallel artistic careers of two of the 20th century’s most influential artists: Alberto Giacometti (1901–1966) and Francis Bacon (1909–1992).

The curators Catherine Grenier, director of the Fondation Giacometti in Paris, Michael Peppiatt, Bacon expert and a personal friend of the artist, and Ulf Küster, curator at the Fondation Beyeler, uncover remarkable parallels in this exhibition of circa 100 works, shedding light on these two artists who struck up a friendship through their mutual friend Isabel Rawsthorne.

On this occasion our institution is lending several photographs from its collection. Some of these were taken by renowned photographers including Mario Dondero or Edward Quinn, while others are more intimate pictures.


Francis Bacon/Bruce Nauman: Face To Face

Francis Bacon/Bruce Nauman: Face To Face

Musée Fabre, Montpellier 1 July – 5 November 2017

The Francis Bacon MB Art Foundation is taking part in the ‘Francis Bacon/Bruce Nauman: Face to Face’ exhibition to be held at the Musée Fabre in Montpellier from 1 July to 5 November 2017.

This exhibition brings together two artists who worked using quite distinct, sometimes even opposing, means, in order to allow a renewed reading, a revivified understanding of these two major 20th century figures. Francis Bacon and Bruce Nauman came from different generations and had little in common in terms of background. Yet both share an experimental conception of art and developed parallel themes, such as a fascination with the body and its distortions, transformations, and assaults, its animality. Notions of both physical and psychological constraint and hindrance, in real or fictional spaces, are another common field of exploration.

This exhibition, conceived by one of the Centre Pompidou curators, Cécile Debray, is organised around an important group of about ten works from the collection of the Musée national d’art moderne, lent within the framework of the Centre Pompidou’s 40th anniversary.

Other remarkable works generously lent by important museums and private collectors complete the selection to offer the public a show of about sixty works – paintings, sculptures, videos, photographs and graphic works; a voyage as spectacular and disconcerting as the two artists.

On this occasion our institution is lending two works by Francis Bacon: Figure with Monkey (1951) and Study for a Portrait (1979). It has also supplied several photographs for the exhibition catalogue and the museum website.

Francis Bacon, Monaco and French Culture

Francis Bacon, Monaco and French Culture

Grimaldi Forum, Monaco 2 July – 4 September 2016

The Grimaldi Forum Monaco has chosen as its theme for the Summer 2016 Exhibition (from 2 July to 4 September): 'Francis Bacon, Monaco and French culture'.

It is curated by Martin Harrison, author of the Francis Bacon Catalogue Raisonné and takes place with the support of the Estate of Francis Bacon in London and the Francis Bacon MB Art Foundation based in Monaco.

The exhibition shows over sixty works by the artist making it one of the most ambitious projects held on the Côte d’Azur.

The Grimaldi Forum presents the work of Francis Bacon (born in Dublin in 1909, died in Madrid in 1992, lived in London, Paris and Monaco) from a unique angle: the influence of French culture and his Monegasque period. Major triptychs as well as famous and less well-known paintings are displayed thematically and show direct and indirect relationships to France and Monaco. One of the features of the exhibition is also to cross-reference major works of the masters who inspired Francis Bacon: Giacometti, Léger, Lurçat, Michaux, Soutine, Toulouse-Lautrec and others.

The works displayed come from public and private collections. They show the full range of eloquence and force of this monster sacré’s art. Among those prestigious institutions lending paintings are the Tate Britain and the Arts Council in London, the Art Gallery of New South Wales and the Centre Pompidou as well as numerous private collections.

Francis Bacon was immediately taken with French culture when he made his first visit to Paris towards the end of the twenties. In the spring of 1927, aged 17, he spent time in Chantilly with the Bocquentin family who took him under their wings and taught him French. In that same year, when visiting an exhibition at the Paul Rosenberg Gallery, he encountered Picasso’s works which inspired him to take up painting.

After selling his Painting 1946 to Erica Brausen, who was to become his art dealer two years later, Bacon left London for the Principality in July 1946, and lived there until the early fifties. It was in Monaco that he painted his first “pope”, mainly inspired by Velázquez’s Portrait of Pope Innocent X, and began to concentrate his work on the human form. It was a decisive stage of his career, which later led him to being recognised as one of the most enigmatic of post-war figurative artists.

Bacon returned frequently throughout his life to Monaco and the South of France. In the fifties and sixties, he often came with his circle of friends from London’s Soho and from Wivenhoe. For the following twenty years he could often be seen with his Parisian friends and with John Edwards, both his muse and his companion.

In 1974 he took a studio-apartment in Paris which he kept until 1984. There he executed many portraits of his Parisian friends, notably Michel Leiris and Jacques Dupin.

The Tate dedicated two retrospectives to the artist during his lifetime in 1962 and in 1985, but he regarded the retrospective at the Grand Palais, in 1971 as most significant of his career. Only Picasso had the similar honour of a retrospective held during his lifetime at the Grand Palais, in 1966.

The exhibition is programmed to travel later to the Guggenheim Museum in Bilbao from 30 September 2016 to 8 January 2017, focusing this time on the artist’s relationship with Spain.

This is also the first major event to be organised under the auspices of the newly founded Francis Bacon MB Art Foundation, inaugurated in Monaco on 28th October 2014 (to coincide with the artist’s birthday) by HRH Prince Albert II. The non-profit institution is the only foundation in the world dedicated to Francis Bacon. Its mission is to promote a deeper understanding of the work, life and working methods of Francis Bacon throughout the world with a particular focus on the period during which the artist lived and worked in Monaco and France.

The Foundation supports original research on Francis Bacon, sponsors emerging artists, organises exhibitions and seminars on Bacon’s oeuvre in partnership with local and international institutions and finances projects associated with the artist.

Francis Bacon – Invisible Rooms

Francis Bacon – Invisible Rooms

Tate Liverpool 18 May – 18 September 2016

The Francis Bacon MB Art Foundation together with The Estate of Francis Bacon are among the Francis Bacon Exhibition Supporters Group for the show Francis Bacon: Invisible Rooms taking place at the Tate Liverpool from 18 May to 18 September, 2016.

Tate Liverpool presents the largest Francis Bacon exhibition ever staged in the north of England featuring more than 35 works including 30 paintings and a large group of works on paper and archival materials. 

Curated by Kasia Redzisz, Senior Curator and Lauren Barnes, Assistant Curator, Tate Liverpool with Ina Conzen, Curator and Deputy Director, Staatsgalerie Stuttgart, the exhibition surveys an underexplored yet significant element of Bacon’s work. An element introduced by the artist in the 1930s, Bacon used a barely visible cubic or elliptic cage around the figures depicted to create his dramatic compositions. These imaginary chambers emphasise the isolation of the represented figures and bring attention to their psychological condition. The act of placing the sitters in ‘invisible rooms’ guides the focus of attention towards the complex human emotions that are felt but can’t be seen.