Culture

Francis Bacon once told the art critic Richard Cork: ‘I certainly hope I’ll go on till I drop dead.’ Max Porter’s The Death of Francis Bacon is a book about painting to the end. It is about art, rags and the restless artist’s eye. Porter, the author of Grief Is the Thing With Feathers and Lanny, has called it ‘my attempt to write as painting, not about it’. In this he brilliantly succeeds. The writing is matted and clotted and thickly impastoed. Each page has the ridge and texture of paint; the paper is like scabby canvas, the words are like drying oil. There is a sticky, tacky quality, as if the author has only just stopped and stood back to look at his work. The book feels unfinished and that seems right.

When Martin Puchner was a child, tramps would turn up at his family home in Nuremberg to be fed by his mother. His father explained that they were drawn by a zinken (sign) associated with Rotwelsch, a language spoken by vagrants and criminals whose name is derived from two terms: Rot (beggar) and Welsch (incomprehensible). The zinken, a cross within a circle carved into the house’s foundation stone, told them that lechem (bread) could be had there. Rotwelsch became Puchner’s key to unlocking a cupboard of family skeletons. His grandfather, Karl, the director of the Bavarian State Archive, was one of many unrepentant Nazis who benefitted from the swift changes in the status quo that followed Germany’s defeat in 1945 and the new threat from Soviet Russia.

In the 1930s curators at the British Museum, under orders from Lord Duveen, a generous donor, scoured and hacked at the friezes and statues of their Parthenon collection. They were trying to remove the smudges and stains thought to be discolouration, to restore the marbles to their original colour — white. But it wasn’t discolouration; it was paint. Though the idea was rejected for years, an arsenal of new technologies — infrared, ultraviolet, X-ray and chemical analysis — has since established that classical sculpture was slathered with the stuff. Though polychromy — the art of painting statues and architecture — was finally accepted in the 1970s, it was proposed over a century before Duveen’s men picked up their chisels.