Bacon Triptych Has Glare Issue
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| Left: Central panel of Francis Bacon's Three Studies of Lucien Freud, 1969. Right: Still from Los Angeles Times installation video |
Francis Bacon's Three Studies of Lucian Freud has been installed in the David Geffen Galleries at LACMA, reports Jessica Gelt in the Los Angeles Times. The article has immediately sparked controversy, for its photographs and video show prominent reflections in the triptych's glazing. The three framed panels directly face windows looking west along sun-drenched Wilshire Blvd.
Gelt is tactful about the matter ("The golden compositions are housed in bright gold frames, and the glass that shields them reflects the world beyond.") Less so is the first commenter on the L.A. Times site, who snarks: "Wow. Look at all that glare in the glass obscuring the paintings. As if no one predicted this no-no straight from Gallery/Museum Design 101 syllabus…"
The horizontal light and city views are, of course, signature features of Peter Zumthor's David Geffen galleries. Most museum paintings are not glazed. The Bacon triptych presents a unique challenge, however, as Bacon himself insisted on glass. In an interview with art critic David Sylvester, Bacon explained:
"I feel that, because I use no varnishes or anything of that kind, and because of the very flat way I paint, the glass helps to unify the picture. I also like the distance between what has been done and the onlooker that the glass creates; I like the removal of the object as far as possible."
It has been claimed that Bacon welcomed reflections as a way of bringing the viewer into the art. He specifically denied that in the Sylvester interview. "To want the person reflected in the glass of a dark painting is illogical and has no meaning," Bacon said. "I think it's just one of those misfortunes. I hope they'll make glass soon which doesn't reflect."
Three Studies of Lucian Freud, a gift of late casino magnate Elaine Wynn, is LACMA's first work by Bacon. When Wynn purchased it for $142 million in 2013, it was the most expensive painting ever sold at auction.
Comments
Between things like reflections on glass, too many gray concrete walls or overly stretched budgets, LACMA in the next several years will be tested. But along with the Lucas, it will now be more like the new kid on the block.
Frankly, I just don't get the criticism that the museum has windows. To these critics, art produced before the advent of electric light must have been terrible, because how dare they use illumination from the sky to produce their works. What about glare? What about changing light conditions?! What about (gasp!) north facing windows vs. south facing windows! Oh the humanity! Raphael's stuff? Worthless, he used daylight and candlelight. Candlelight (shields eyes with fingers!) it flickers! Nobody could ever art or view art in conditions other than perfect electric conditions. It's not possible. Never in human history has a such thing been considered.
Norton Simon, back when I first visited in 2007, had this problem.
I left a poisonously worded comment card denouncing the museum's policy of covering all of its paintings behind unclean and unclear glass. I asked that, if they must retain glass over their masterpieces, can they at least be cleaned of dust so that one can better appreciate them, and also treated to prevent large "EXIT" lettering over them?
A senior official responded:
"I surely hope you will not be disappointed again on your next visit. While we cannot always—or totally—control dust, we do make an effort to do routine checks for “ghosting” or “offgassing” on all of these glazed paintings. And since 2007 we have upgraded to a type of static-free, non-reflective acrylic, called “Museum Optium,” which I think allows one to view the painting in an optimum way. Feel free to leave a comment card letting us know if you disagree."
Shazaamm! Problem solved.
On my next visit, I left the following comment:
"I could not be happier last week to have finally "seen" your museum's stunning collection of European paintings.
"Most astounding was my chance to live, albeit briefly, with your Zurbarán "altar" still-life -- to my mind, arguably, the most important Baroque painting in the United States.
"Great thanks!"
*
To LACMA: 2007 is calling you.
> criticism that the
> museum has
> windows
Not when it's both too excessive and is part of a building where the square footage already isn't as large as it can be or should be. That's not even factoring in less usable wall space for exhibits or dealing with objects that are light sensitive.
Although LACMA's collection has plenty of works that are better left in storage, the museum (and as true of lots of other ones too), should show more of it. LACMA also isn't helped either by existing space better left for pre-mid- or pre-1900's artworks instead of being used for items too much like those at a Hauser & Wirth.
When Pereira's design was unveiled in 1965, a lot of space was turned over to generally narrow galleries surrounding an open 4-floor-tall atrium. The openings were eventually sealed off with walls.
I'd be surprised if some of the windows in the Geffen don't eventually see a similar fate. Not to mention changing all the walls that right now are plain gray concrete.
I had my doubts about Optium when it was first suggested to me. But the clarity is excellent. More importantly, it protects light-sensitive works from fading.
--- J. Garcin
LACMA: Say it is so, and you will course-correct.
I'm not fully convinced. Hirshhorn and the Zwinger both have large sunlight-facing glass environments, and both use gauze-ish drapery, both to good effect. Although, I'm now recalling, those spaces largely display sculptures and decorative arts. Still, some of these works were shown in vitrines, and are subject to glaring light. In sum, I don't recall the light putting me off. So, that's something.
Question to LACMA: Is there enough fine art collection without need of glazing, and plastic art, to fill your periphery gallery space if you can't perform required mitigating measures?
Yes, Hirshorn's outer ring of galleries with the large glass windows has bronze and the like, as I recall. The Getty's South Pavillion terrace also displays sculpture and dec arts as opposed to glazed works that do not require light limitations.
> installed would have
> to be dark black-out
> curtains
I believe some of the windows already have curtains in front of them---that's almost a given since the building in just a few weeks will open for preview showings. I'm curious if things like that end up making some of the galleries look goofy. lol.
After seeing images of just a few works, including the Francis Bacon, set against gray concrete walls, that will be the one feature next month that probably stands out the most. I hope not, but I've been in locations where all the walls are plain concrete (eg, parking garages), and I suspect the visuals won't be too different in the Geffen.
Bringing out buckets of liquid tint and lots of applicators (roller brushes?) may be necessary.