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Damon Galgut: After reading Roald Dahl, the world never looked the same | Books
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The Stirring of a Thousand Bells, Colin McPhee – Return of a Native
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Francis Bacon, 1984. (Photo by Ulf Andersen / Getty Images)
In August of 1998, a team of curators, conservators, and archaeologists arrived at 7 Reece Mews, a small flat in London’s South Kensington neighborhood, to start work on the month-long task of transporting its contents to the Hugh Lane Gallery in Dublin. There, over the next five years, the team labored to painstakingly reconstruct the flat, which for some 30 years had served as the home and studio of Francis Bacon. The artist had moved to Reece Mews in the fall of 1961 and lived there until his death, in 1992, of a heart attack while on a trip to Madrid. The studio re-creation opened at the Hugh Lane in 2001 with some 7,500 pieces of material slashed canvases, crumpled photographs, pages ripped from medical textbooks, drawings, and hand-scrawled notes now available for consumption by a public hungry for insight into Bacon’s life and artistic process.