Joshua Reynolds (1723-1792)
“Cupid as a Link Boy” (1774)
Located in the Albright-Knox Art Gallery, Buffalo, New York, United States
A link boy was a boy who carried a flaming torch to light the way for pedestrians at night. Linkboys were common in London in the days before street lighting. The torch was often made from burning pitch and tow.
#CaughtOnCamera Francis Bacon: Paintings from the 1950s Albright-Knox Art Gallery, May 4–July 29, 2007
Francis Bacon: Paintings from the 1950s highlighted the decade in which Francis Bacon (British, 1909–1992) experimented with a wide range of complex themes and the haunting images that became his hallmark iconography—screaming heads, popes, caged animals, and distorted and isolated figures. Bacon was known for taking risks, not only in his art, but in his daily life as well. His life in the 1950s was consumed with destructive romantic relationships, gambling in Monte Carlo and Tangier, among other places, and general overindulgence of all kinds. A flamboyant homosexual with an appetite for danger and luxury, Bacon traveled in many social circles of extreme contrast—from a ritzy gathering at a four-star restaurant to gambling parties with vagrants. Experiencing and observing the human condition in its many guises was Bacon’s forte, and he set out to expose the visceral content he envisioned behind social and emotional veils.
Bacon made ambitious strides during the 1950s. His work from this period has a raw sense of immediacy. Provocative and mysterious, it reflects a variable and creative mind unbound by social and artistic conventions.
Capital construction at the Albright-Knox Gallery in Buffalo, New York, is practically a once-in-a-lifetime event. The renowned art museum opened its first permanent building to the public in 1905, and it didn’t complete its first expansion until 1962, when it inaugurated a new south wing designed by SOM’s Gordon Bunshaft. The famous architect’s mid-century scheme meditates on past and present. If the first story of the 30,000-square-foot addition appears as a continuation of the original Beaux-Arts building’s basement-level marble wall, then the auditorium sitting atop that base could not be more distinct. This steel-structure box, clad in 40 deeply tinted glass panels, is a sleek counterpoint to the colonnaded marble volumes of the original. How will Albright-Knox mark the passage of time, architecturally, for the next generation? It began public dialogue about a second major expansion earlier this year.