Starving Artists - Part Three
Emily Carr was just plain unlucky. She is one of British Columbia's most famous visual artists. Yet she lived most of her adult life in poverty. When she was born in Victoria, B.C, in 1871 into a middle class family, there were very few traditional visual artists in British Columbia.
First Nations people had carved some magnificent totem poles. Artists in the British navy drew landscapes that could be used for military purposes and naval journeys. Yet elsewhere in B.C. there weren't too many visual artists around. Of course there weren't too many white people around either. And money for the visual arts was scarce too.
By the time Carr died in 1945, the art world of North America was on the cusp of a great change. A new affluent world emerged after 1945 in the United States and then spread across the western world. It was based on the car, the suburban tract home, television, the jet plane and the credit card. And tax laws concerned with the visual arts changed too.
"The American government passed a law," writes John Berger, "which allowed income tax relief to any citizen giving a work of art to an American museum. The relief was immediate." Yet the art didn't go to the museum until after the owner died.
In Britain the government passed laws that tried to stop art works from leaving Britain as exports. A rich person's heirs could now pay the deceased's death duties with art not money. "Both pieces of legislation," adds Berger, "increased prices in sales rooms throughout the art loving world."
Then, too, the massive spending by the governments of the United States and other western countries during the Cold War poured billions of dollars, pounds and other currencies into people's pockets. Some of this ended up in the art world, and also helped push up prices in the art galleries.
Visual art became a commodity like everything else.
Yet Emily Carr and many others saw none of this new affluence. After the age of 40 she was poor and remained poor for the rest of her life. She became a landlord, a breeder of animals, a writer of books, and a worker at many other tasks. She had to do this to survive for she never made much money from her paintings.
Flash forward to 2015. Charles Ray is an American sculptor, now based in Santa Monica, California. Ray's huge life like sculptures sell for two or three million dollars apiece. Ray doesn't get all of this money. His dealer Matthew Marks takes some of the money off the top for himself. Yet every year a museum or rich people snap up one of more of Ray's works.
Ray is not a very rich man. He pours most of a lot of his proceeds from sales into his studio. Still, he lives on a privileged plateau that Emily Carr and many other artists of the past could only dream about. "Everybody will be famous for fifteen minutes," said Andy Warhol who died a very rich man and who was famous for a lot longer than fifteen minutes.
Warhol, Charles Ray Jeff Koons and other fortunate visual artists made or make millions of dollars from their work. Emily Carr never had their luck. She was just born too early.
Monday 31 August 2015
Thursday 20 August 2015
'Starving Artists' Part Two by Dave Jaffe
Starving Artists: Part Two
The life of D.H. Lawrence mentioned in part one of this blog was an extreme life. Few novelists, painters, or poets have aroused so much anger from the powerful as Lawrence did. Lawrence attacked in his novels the prudishness of Victorian England and paid a terrible price for doing so.
Yet the poverty that Lawrence sometimes endured was also a burden to many other creative people, especially visual artists.
Alberto Giacometti was born in Switzerland in the early part of the 20th century. One of his sculptures was recently sold for nearly $120 million (U.S.). Yet Giacometti spent half of his adult life living in poverty in two tiny rooms in a house in Paris. His brother Diego lived down the hall in a space as cramped as his brother's living quarters.
"Giacometti was a most extreme artist," wrote John Berger. "He based all his mature work on the proposition that no reality could ever be shared." Giacometti's sculptures are black in colour or grey. His figures are also very thin and look nearly anorectic. Giacometti became famous in the late 1940's. many people back then thought he was copying pictures of starving people who had just survived the recently closed Nazi death camps.
Giacometti was soon flush with cash. By now he was in his mid-forties. He died 20 years later in 1966 from pneumonia. His smoking surely speeded up his death. Yet the 20 years of his adult life, living as a poor man, didn't help extend his life either.
Giacometti wasn't the only one of the early 20th century's famous artists who spent a large part of his life in poverty. Piet Mondrian was another. Mondrian became one of the most famous abstract artists who's ever lived. Born in Holland, Mondrian was nearly 40 when he discovered cubist paintings in Paris.
Mondrian then joined the Dutch art movement called 'de Stilj' or 'The Style'. Mondrian stopped painting the somewhat moody paintings of his youth and early middle age. He switched to abstraction. His paintings focused on the square, vertical and horizontal lines, and the colours black, white, red, yellow and blue.
"We come to see that the principal problems in plastic art," Mondrian wrote," is not to avoid representation of objects, but to be as objective as possible." Mondrian died in New York City in the mid-1940's, having fled war torn Europe. His paintings like 'New York Boogie Woogie' and the unfinished 'Victory Boogie Woogie' are reproduced in most art history books and to-day are worth tens of millions of dollars.
Yet in his lifetime he lived for the most part as a poor artist. So did others.
The life of D.H. Lawrence mentioned in part one of this blog was an extreme life. Few novelists, painters, or poets have aroused so much anger from the powerful as Lawrence did. Lawrence attacked in his novels the prudishness of Victorian England and paid a terrible price for doing so.
Yet the poverty that Lawrence sometimes endured was also a burden to many other creative people, especially visual artists.
Alberto Giacometti was born in Switzerland in the early part of the 20th century. One of his sculptures was recently sold for nearly $120 million (U.S.). Yet Giacometti spent half of his adult life living in poverty in two tiny rooms in a house in Paris. His brother Diego lived down the hall in a space as cramped as his brother's living quarters.
"Giacometti was a most extreme artist," wrote John Berger. "He based all his mature work on the proposition that no reality could ever be shared." Giacometti's sculptures are black in colour or grey. His figures are also very thin and look nearly anorectic. Giacometti became famous in the late 1940's. many people back then thought he was copying pictures of starving people who had just survived the recently closed Nazi death camps.
Giacometti was soon flush with cash. By now he was in his mid-forties. He died 20 years later in 1966 from pneumonia. His smoking surely speeded up his death. Yet the 20 years of his adult life, living as a poor man, didn't help extend his life either.
Giacometti wasn't the only one of the early 20th century's famous artists who spent a large part of his life in poverty. Piet Mondrian was another. Mondrian became one of the most famous abstract artists who's ever lived. Born in Holland, Mondrian was nearly 40 when he discovered cubist paintings in Paris.
Mondrian then joined the Dutch art movement called 'de Stilj' or 'The Style'. Mondrian stopped painting the somewhat moody paintings of his youth and early middle age. He switched to abstraction. His paintings focused on the square, vertical and horizontal lines, and the colours black, white, red, yellow and blue.
"We come to see that the principal problems in plastic art," Mondrian wrote," is not to avoid representation of objects, but to be as objective as possible." Mondrian died in New York City in the mid-1940's, having fled war torn Europe. His paintings like 'New York Boogie Woogie' and the unfinished 'Victory Boogie Woogie' are reproduced in most art history books and to-day are worth tens of millions of dollars.
Yet in his lifetime he lived for the most part as a poor artist. So did others.
Wednesday 19 August 2015
Starving Artists by Dave Jaffe Part One
Starving Artists Part One
"Oh, you're a starving artist are you?" a sarcastic woman once said when I told her what I did. "How interesting." This woman aimed to hurt me and she did. Yet her comment wasn't far off-base. Most Canadian artists don't starve to death. Yet they don't make much money either.
In 2014, 136,000 Canadians called themselves 'artists'. Their median income totalled as little less than $22,000 a year. The median income for all Canadians came in far higher at a little less than $38,000 annually.
So most artists are or were poor. And when they are poor they're travelling a well-worn path. Take David Herbert Richard Lawrence for example. Known in the history books as D.H. Lawrence, he wrote some of the great English novels of the early 20th century. 'The Rainbow', 'Women In Love' and 'Lady Chatterley's Lover' are or used to be part of many English literature courses.
Yet Lawrence never saw much money from these novels or from his poetry, criticism or travelogues. This son of a coal miner and a middle class mother, became a teacher in the English midlands. He wrote his first novel 'The White Peacock' before the First World War. In 1912 he eloped with the German wife of one of his former teachers. Lawrence then left teaching but never made much money after this.
"'The Rainbow' and 'Women In Love'," says a biographical sketch of Lawrence, "were completed in 1915 and 1916." Yet "The Rainbow''s sexual frankness enraged the British government and no publisher would handle 'Women In Love'. Lawrence and his wife, the former Frieda von Richtoffen faced persecution in wartime England. The authorities had a particular disike to Frieda von Richtoffen because her brother was the famous German flying ace Baron von Richtoffen, who was shooting down English pilots in the skies above France during the First World War.
The First World War ended in 1918. Four years later Lawrence and Frieda left their country England and travelled through large parts of the world. They had little money and Lawrence's last novel 'Lady Chatterley's Lover', was banned because of its frank language and its love making scenes. Lawrence died in 1929 from tubercolosis at the age of 44.
"In his writing," wrote Frieda von Richtoffen," Lawrence gave us the splendour of living. It was a heroic and immeasurable gift." Yet from his mid-twenties on, Lawrence lived in poverty and exile. While he lived below the poverty level so did many other gifted, creative artists. But it's also fair to say that before 1945 most people in the world were also poor.
"Oh, you're a starving artist are you?" a sarcastic woman once said when I told her what I did. "How interesting." This woman aimed to hurt me and she did. Yet her comment wasn't far off-base. Most Canadian artists don't starve to death. Yet they don't make much money either.
In 2014, 136,000 Canadians called themselves 'artists'. Their median income totalled as little less than $22,000 a year. The median income for all Canadians came in far higher at a little less than $38,000 annually.
So most artists are or were poor. And when they are poor they're travelling a well-worn path. Take David Herbert Richard Lawrence for example. Known in the history books as D.H. Lawrence, he wrote some of the great English novels of the early 20th century. 'The Rainbow', 'Women In Love' and 'Lady Chatterley's Lover' are or used to be part of many English literature courses.
Yet Lawrence never saw much money from these novels or from his poetry, criticism or travelogues. This son of a coal miner and a middle class mother, became a teacher in the English midlands. He wrote his first novel 'The White Peacock' before the First World War. In 1912 he eloped with the German wife of one of his former teachers. Lawrence then left teaching but never made much money after this.
"'The Rainbow' and 'Women In Love'," says a biographical sketch of Lawrence, "were completed in 1915 and 1916." Yet "The Rainbow''s sexual frankness enraged the British government and no publisher would handle 'Women In Love'. Lawrence and his wife, the former Frieda von Richtoffen faced persecution in wartime England. The authorities had a particular disike to Frieda von Richtoffen because her brother was the famous German flying ace Baron von Richtoffen, who was shooting down English pilots in the skies above France during the First World War.
The First World War ended in 1918. Four years later Lawrence and Frieda left their country England and travelled through large parts of the world. They had little money and Lawrence's last novel 'Lady Chatterley's Lover', was banned because of its frank language and its love making scenes. Lawrence died in 1929 from tubercolosis at the age of 44.
"In his writing," wrote Frieda von Richtoffen," Lawrence gave us the splendour of living. It was a heroic and immeasurable gift." Yet from his mid-twenties on, Lawrence lived in poverty and exile. While he lived below the poverty level so did many other gifted, creative artists. But it's also fair to say that before 1945 most people in the world were also poor.
Saturday 8 August 2015
An Unknown Artist Gets Known: Part Two by Dave Jaffe
Part Two of 'An Unknown Artist Gets Known'
George Fertig's paintings usually fall into one of three types.
First came conventional paintings of trees growing by rivers or seas. Then Fertig painted many pictures of fruits, either just one fruit or two . Last but not least, Fertig painted pictures that were spiritual in intent. These paintings were influenced by the work of the famous Swiss psychiatrist Carl Gustav Jung. In these works, big and small moons stand out against dark skies and usually loom over plants that come out of the sea.
"George was now known among his friends and fellow artists as the 'Moon Man'," writes Mona Fertig. "He painted huge primordial images that filled the walls in our damp basement suite in Kitsilano."
By the late 1950's George Fertig was now a married man with a wife and two daughters. He worked in blue collar jobs and was a left leaning progressive. Later he stopped working to concentrate on his art. He spent most of his time painting pictures but also branched out into pottery.
He, his wife Eva Luxa, and their two daughters spent many years in poverty. Fertig's art was often ignored by the Vancouver art establishment. Artists like Jack Shadbolt, Takao Tanabe, Roy Kiyooka, B.C. Binning and others thrived because they were connected to the
Vancouver Art Gallery and the Vancouver School of Art. They also nearly all painted in an abstract style. Fertig was mostly self taught. He never taught at the Vancouver School of Art or could count on getting his pictures shown at the Vancouver Art Gallery.
Mona Fertig touches on this point but it needs to be connected to the wider world of the fine arts. In the late 1940's, a Cold War erupted between the United States of America and the Soviet Union. As Serge Guilbault points out in his book 'How New York Stole the Idea of Modern Art', the Central Intelligence Agency backed the art called 'Abstract Expressionism'.
Abstract painters like Jackson Pollock, Wilhelm de Kooning and Franz Kline were lauded as great painters - which they were. Yet they followed or founded the school of art called Abstract Expressionism. Other types of art, like George Fertig's, were shut out of the art world. As part of this world wide trend, the Vancouver Art Gallery changed into an exclusive organization that welcomed artists like Jack Shadbolt and his friends who painted in an abstract style. Shadbolt in the late 1940's quickly switched from painting realistic works to becoming an abstract painter. Others followed suit. Those that did not, like George Fertig were left out in the cold.
Fertig had no chance to get shown widely as he was confronting powerful forces, that operated not only in Vancouver, but around the western world.
Professor Peter Such says in his introduction to Mona Fertig's book, "It takes tremendous courage to plumb the depths of mystical life." George Fertig did this and thanks are due to his daughter Mona. She has finally lifted the veil of obscurity that lay over her dad's life until now.
George Fertig's paintings usually fall into one of three types.
First came conventional paintings of trees growing by rivers or seas. Then Fertig painted many pictures of fruits, either just one fruit or two . Last but not least, Fertig painted pictures that were spiritual in intent. These paintings were influenced by the work of the famous Swiss psychiatrist Carl Gustav Jung. In these works, big and small moons stand out against dark skies and usually loom over plants that come out of the sea.
"George was now known among his friends and fellow artists as the 'Moon Man'," writes Mona Fertig. "He painted huge primordial images that filled the walls in our damp basement suite in Kitsilano."
By the late 1950's George Fertig was now a married man with a wife and two daughters. He worked in blue collar jobs and was a left leaning progressive. Later he stopped working to concentrate on his art. He spent most of his time painting pictures but also branched out into pottery.
He, his wife Eva Luxa, and their two daughters spent many years in poverty. Fertig's art was often ignored by the Vancouver art establishment. Artists like Jack Shadbolt, Takao Tanabe, Roy Kiyooka, B.C. Binning and others thrived because they were connected to the
Vancouver Art Gallery and the Vancouver School of Art. They also nearly all painted in an abstract style. Fertig was mostly self taught. He never taught at the Vancouver School of Art or could count on getting his pictures shown at the Vancouver Art Gallery.
Mona Fertig touches on this point but it needs to be connected to the wider world of the fine arts. In the late 1940's, a Cold War erupted between the United States of America and the Soviet Union. As Serge Guilbault points out in his book 'How New York Stole the Idea of Modern Art', the Central Intelligence Agency backed the art called 'Abstract Expressionism'.
Abstract painters like Jackson Pollock, Wilhelm de Kooning and Franz Kline were lauded as great painters - which they were. Yet they followed or founded the school of art called Abstract Expressionism. Other types of art, like George Fertig's, were shut out of the art world. As part of this world wide trend, the Vancouver Art Gallery changed into an exclusive organization that welcomed artists like Jack Shadbolt and his friends who painted in an abstract style. Shadbolt in the late 1940's quickly switched from painting realistic works to becoming an abstract painter. Others followed suit. Those that did not, like George Fertig were left out in the cold.
Fertig had no chance to get shown widely as he was confronting powerful forces, that operated not only in Vancouver, but around the western world.
Professor Peter Such says in his introduction to Mona Fertig's book, "It takes tremendous courage to plumb the depths of mystical life." George Fertig did this and thanks are due to his daughter Mona. She has finally lifted the veil of obscurity that lay over her dad's life until now.
Friday 7 August 2015
An Unknown Artist gets Known by Dave Jaffe: Part One
An Unknown Artist Gets Known by Dave Jaffe
"Success has a thousand parents," U.S. president John Fitzgerald Kennedy said way back in the 1960's. "But failure is an orphan."
By mainstream standards , the late George Fertig, who was a Vancouver based artist, probably did fail. He's surely not mentioned in any Canadian art history book. Few artists ever said they'd influenced him. And his paintings never made it into most public art galleries. Also for long stretches of his life, he endured grinding poverty.
Yet out in the real world there's thousands of artists like George Fertig. Without them, the Canadian art scene would be much poorer.
Now Fertig's life has been written about by one of his two daughters, Mona Fertig. Her book is called 'The Life and Art of George Fertig'. Mona Fertig has set up 'Mother Tongue Publishing Ltd' and has unearthed many other forgotten B.C. visual artists. Mona Fertig is a poet, a publisher as already mentioned, an author many times over and now a biographer of her dad. This is a story worth telling.
George Thane Fertig was born into small town Alberta in 1915. He lived in a sod house for a while as his mother and father braved life on the prairies. George's father George Samuel Fertig gambled and was a drinker. He gambled away his property and the family fell onto desperate times. George's mother Grace Faulkner held the family together as they moved from one place to another.
Any time is a bad time to be poor but the Fertigs had chosen the worst time of all. They grew up in the Great Depression of the 1930's. "The Great Depression," writes Mona Fertig, "combined with years of drought in the West, brought massive unemployment, poverty, bankruptcy, soup kitchens and destitution."
The elder George Fertig died in the 1930's. The young George went through a nervous breakdown. Yet then he took up photography, and then in his twenties began to paint in oils. in the late 1940's, Fertig ended up in Vancouver where he stayed for the rest of his life. Here he launched himself on his artistic career and faced many obstacles in the process.
(To Be continued: End of Part One).
"Success has a thousand parents," U.S. president John Fitzgerald Kennedy said way back in the 1960's. "But failure is an orphan."
By mainstream standards , the late George Fertig, who was a Vancouver based artist, probably did fail. He's surely not mentioned in any Canadian art history book. Few artists ever said they'd influenced him. And his paintings never made it into most public art galleries. Also for long stretches of his life, he endured grinding poverty.
Yet out in the real world there's thousands of artists like George Fertig. Without them, the Canadian art scene would be much poorer.
Now Fertig's life has been written about by one of his two daughters, Mona Fertig. Her book is called 'The Life and Art of George Fertig'. Mona Fertig has set up 'Mother Tongue Publishing Ltd' and has unearthed many other forgotten B.C. visual artists. Mona Fertig is a poet, a publisher as already mentioned, an author many times over and now a biographer of her dad. This is a story worth telling.
George Thane Fertig was born into small town Alberta in 1915. He lived in a sod house for a while as his mother and father braved life on the prairies. George's father George Samuel Fertig gambled and was a drinker. He gambled away his property and the family fell onto desperate times. George's mother Grace Faulkner held the family together as they moved from one place to another.
Any time is a bad time to be poor but the Fertigs had chosen the worst time of all. They grew up in the Great Depression of the 1930's. "The Great Depression," writes Mona Fertig, "combined with years of drought in the West, brought massive unemployment, poverty, bankruptcy, soup kitchens and destitution."
The elder George Fertig died in the 1930's. The young George went through a nervous breakdown. Yet then he took up photography, and then in his twenties began to paint in oils. in the late 1940's, Fertig ended up in Vancouver where he stayed for the rest of his life. Here he launched himself on his artistic career and faced many obstacles in the process.
(To Be continued: End of Part One).
Tuesday 4 August 2015
John Berger Versus Francis Bacon;Who was Right Part Three
Part Three of Berger Versus Bacon: Who Was Right? by Dave Jaffe
In her book on Francis Bacon, author Kitty Hauser mentions John Berger comparing Francis Bacon's figures to those of Walt Disney's. I get the impression that Hauser didn't like this comparison.
Yet one artist I knew in the 1980's liked that comparison a lot. "Berger is really different from most art critics," Roger Jansen, a tall bearded artist and baker said in effect. "His comparison amazed me and I thought it was so true."
Now time moves on. Francis Bacon died in 1992. John Berger went on writing. Then in 2004, a show of Bacon's works was held in France where Berger has lived for many years. Berger went to see the show and he was impressed.
In a story Berger wrote for the U.K.-based weekly 'The Guardian', Berger switched positions on Bacon and his work. Now he saw Bacon's paintings as a key to understanding the state of the world. Bacon, Berger concluded, saw the world as a brutal place. 'Pitiless' was the word Berger used. And Berger said Bacon got it right.
Bacon's views according to Berger, matched the world outside the gallery's doors. The year before the show opened in France, NATO forces led by the United States, had invaded Iraq. They overthrew the brutal dictator Saddam Hussein, but then went on to kill tens of thousands of Iraqis and penned up others in horrible prisons like Abu Ghraib and Guantanamo.
In Abu Ghraib, guards, who were mostly Americans, tortured, beat and water boarded their prisoners. Pictures show some guards really enjoying torturing their prisoners. All of this took place against a backdrop of what came to be known as '9/11'. On September 9, 2001 a group of men from Saudi Arabia and Morocco hijacked American planes and ploughed into the World Trade Towers in New York City and the Pentagon in Washington, D.C. All the hijackers died as did the passengers on the planes and over 2,000 people who were mostly Americans.
"Those who are not with us," said then-U.S. president George W. Bush "are against us." The Cold War had ended ten years before. Now a new world wide war, ' The War On Terror' had begun. It's still going on in 2015.
Berger surely saw this and realized that the idealism of his youth and middle age had been misplaced. The world was indeed a pitiless place. So put John Berger in the camp of disappointed idealists, as Kitty Hauser pointed out in her book on Bacon. Put me there too.
So though Bacon's view of life is probably right maybe John Berger got it right too - at least once. In the late 1960's, Berger like myself and millions of others thought that progressive forces would win many victories and sweep the world. Yet by 1972, the year Berger first wrote about Bacon, he and others knew that the dreams of the 1960's had been a mirage. Yet Berger remained an idealist. Still, now a man in his eighties, Berger could no longer deny that the world was indeed pitiless.
"Game, set and match," tennis announcers say at court side when a tennis game is won by one contestant or another.So game set, and match to Francis Bacon who stands out as one of the great figurative painters of the 20th century. Yet I still wish he had been wrong in his view of human beings.
In her book on Francis Bacon, author Kitty Hauser mentions John Berger comparing Francis Bacon's figures to those of Walt Disney's. I get the impression that Hauser didn't like this comparison.
Yet one artist I knew in the 1980's liked that comparison a lot. "Berger is really different from most art critics," Roger Jansen, a tall bearded artist and baker said in effect. "His comparison amazed me and I thought it was so true."
Now time moves on. Francis Bacon died in 1992. John Berger went on writing. Then in 2004, a show of Bacon's works was held in France where Berger has lived for many years. Berger went to see the show and he was impressed.
In a story Berger wrote for the U.K.-based weekly 'The Guardian', Berger switched positions on Bacon and his work. Now he saw Bacon's paintings as a key to understanding the state of the world. Bacon, Berger concluded, saw the world as a brutal place. 'Pitiless' was the word Berger used. And Berger said Bacon got it right.
Bacon's views according to Berger, matched the world outside the gallery's doors. The year before the show opened in France, NATO forces led by the United States, had invaded Iraq. They overthrew the brutal dictator Saddam Hussein, but then went on to kill tens of thousands of Iraqis and penned up others in horrible prisons like Abu Ghraib and Guantanamo.
In Abu Ghraib, guards, who were mostly Americans, tortured, beat and water boarded their prisoners. Pictures show some guards really enjoying torturing their prisoners. All of this took place against a backdrop of what came to be known as '9/11'. On September 9, 2001 a group of men from Saudi Arabia and Morocco hijacked American planes and ploughed into the World Trade Towers in New York City and the Pentagon in Washington, D.C. All the hijackers died as did the passengers on the planes and over 2,000 people who were mostly Americans.
"Those who are not with us," said then-U.S. president George W. Bush "are against us." The Cold War had ended ten years before. Now a new world wide war, ' The War On Terror' had begun. It's still going on in 2015.
Berger surely saw this and realized that the idealism of his youth and middle age had been misplaced. The world was indeed a pitiless place. So put John Berger in the camp of disappointed idealists, as Kitty Hauser pointed out in her book on Bacon. Put me there too.
So though Bacon's view of life is probably right maybe John Berger got it right too - at least once. In the late 1960's, Berger like myself and millions of others thought that progressive forces would win many victories and sweep the world. Yet by 1972, the year Berger first wrote about Bacon, he and others knew that the dreams of the 1960's had been a mirage. Yet Berger remained an idealist. Still, now a man in his eighties, Berger could no longer deny that the world was indeed pitiless.
"Game, set and match," tennis announcers say at court side when a tennis game is won by one contestant or another.So game set, and match to Francis Bacon who stands out as one of the great figurative painters of the 20th century. Yet I still wish he had been wrong in his view of human beings.
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