Us looking at Penn looking at Bacon looking at Rembrandt. Penn's portrait is full of questions, prime among them the one of who chose its mise-en-scène. Did Bacon ask to be photographed in front of a dead Old Master, or was it Penn who saw a connection between the two men, and if so of what kind? Bacon was 52 when Penn's picture was taken, although, with his cherub cheeks and boot-polish-blacked hair, he looks 20 years younger. Rembrandt was 51 when he painted the Aix self-portrait and seems 20 years older. Like Bacon, he had lived beyond his means; unlike Bacon, his luck had run out. In 1660, the year of the self-portrait, Rembrandt had been forced to sell his house and printing press and to go to work for his son, Titus. Etched into his face is the pauper's grave that would wait for him a decade later. Did Penn see, in Bacon's sybaritic life, a similar end? Or did Bacon choose to have Rembrandt look over his right shoulder – the angel's side – as a token of admiration, or self-admiration?
Nothing in Bacon's life or art is ever easy, his take on Rembrandt least of all. What we do know is that there was a take – that Bacon, a tireless gatherer of scraps, admired Rembrandt above all other artists. Again and again in his quarter-of-a-century of interviews with the critic David Sylvester, Bacon returns to the Dutchman, worrying away at him as if picking at a scab, or at Rembrandt's scabrous paint. It is hard to believe that so deep a relationship between two such great artists had never been the subject of an exhibition – Bacon has been paired off with everyone from Van Gogh to Eadweard Muybridge – but this is the case. Which makes Irrational Marks, the opening show of the new Ordovas gallery in London, which looks at the work of two men side-by-side, both welcome and revealing. k
Maybe acts of homage are always tinged with loathing; certainly, Bacon's seems that way. Rembrandt painted or etched nearly 100 self-portraits over 40 years. Many – the Mauritshuis gallery's Self-portrait with Gorget, say – show him as young and strong, high on the hog's back. Bacon's fascination, though, is with the man laid low, stripped bare. There are half-a-dozen of his torn-out pages in this show, all of them taken from Reece Mews and bearing reproductions of Rembrandt self-portraits post-1655, when the artist was in his fifties, widowed and broke. To the violence of the Dutchman's own life, Bacon has added another: the pages are creased and spattered with paint. The housekeeping at Reece Mews was known to be slovenly, but the treatment to which the pages have been subjected seems harsh even so, less a lack of care than an outright attack. In one plate, torn from Claude Roger Marx's monograph on Rembrandt, the old man's throat has apparently been cut. His upper lip has been gouged out.
It may, of course, have been a kind of empathy. If you saw the film Love is the Devil, you'll know Bacon's taste for the lash. Pain was beauty for him; pain was truth. In a story he told, often and in several variants, Bacon's fox-hunting father had had his 14-year-old son horsewhipped when he was caught being buggered by a stable-boy. The punishment had backfired: from then on, the artist-to-be added masochism to his repertoire of happily delinquent sexuality. To enjoy Rembrandt's pain was to pay him an accolade, to enrol him in a club: not for nothing did Bacon refer to the Dutchman's clotted brushwork as a "coagulation". But, as with his father's horsewhipping, to feel Rembrandt's pain was to turn the Oedipal tables.
If there is hate in Bacon's love of Rembrandt, then it may have something to do with their differing views of age. The master of Reece Mews once disingenuously remarked to David Sylvester that he painted self-portraits, although he "loathed [his] own face", because he hadn't "got anyone else to do". By absolute contrast, Rembrandt loves his own face, not because it is his but because it is a face.
In a sense, all of the Dutch Master's self-portraits are double portraits. They depict a man who is getting older, but they also show an artist who is growing more mature. Every vicissitude that life can throw at Rembrandt – each pouch and jowl, every newly acquired line – calls for an artistic answer. There is a blessed equity to his self-depiction. It takes experience to paint an experienced face: Rembrandt had to be 51 to paint himself at 51. Old age, suffering, become cartes de visite, advertisements of his skill. The Aix self-portrait is like a fugue in which one voice is worn down by time, the other triumphant over it.
Talking to Sylvester about the Aix image, Bacon praised Rembrandt's abstraction, his capacity to make the "irrational marks" from which this show takes its title. The Aix self-portrait, he says, is "almost completely anti-illustrational". That both is and is not true – Rembrandt, like any 17th-century painter, would have viewed the lack of resemblance as a failure – but it is certainly revealing about Bacon's own view of himself. The point of a double portrait is to understand both sitters by reference to the other. This exhibition of the two men's work does just that. Where Rembrandt's images of himself are revealed as inescapably optimistic, Bacon's are endlessly pessimistic.
Only when you see him next to Rembrandt do you realise that Bacon is all about self-effacement. In one study for a self-portrait, made in 1973 (above left), Bacon's own face is eclipsed by another, the face of a watch. You sense an 11th hour: the artist, now 64, is reduced to two forms, a double-chin and the skull-like socket of an eye. There is no redemption in his self-image, none of Rembrandt's saving virtuosity: there is only age, and time ticking away. With its grey brushwork and hazy surface, the watch-portrait feels like a picture torn from a newspaper or magazine. Its monochrome palette seems to echo the brown-on-brown self-portraits of the ageing Rembrandt, at least as shown in black-and-white reproduction. The watch-portrait is Rembrandt rubbed out and then rubbed out again, faded and re-faded. It is a self-portrait of Bacon as someone else, someone he wanted to be.
Irrational Marks: Bacon and Rembrandt is at Ordovas, 25 Savile Row, London W1 (020 7287 5013, ordovasart.com), until 16 December
Masters of the art: Two very brief lives
Francis Bacon
The second of five children, Francis Bacon was born in Dublin in 1909 to a Boer War veteran and an heiressto a Sheffield steel business. The family moved frequently between Ireland and England in Bacon's youth. Bacon's father banished him in 1926 when he discovered the 17-year-old in his mother's underwear; on a meagre allowance, he drifted between London, Berlin and Paris, where he was inspired to art by a Picasso exhibition.
In the 1930s, he made tentative forays into painting, while working as an interior decorator and furniture designer. His breakthrough came in 1944 with the triptych 'Three Studies for Figures at the Base of a Crucifixion'.
In the 1950s and 1960s Bacon became an habitué of Soho drinking and gambling dens. In 1971 his then-lover George Dyer killed himself on the eve of a retrospective in Paris. Bacon spent the rest of his life with the altogether more stable John Edwards, who was named as the sole heir to Bacon's estate on the painter's death in 1992.
Rembrandt
Rembrandt Harmenszoon van Rijn was born in 1606, the ninth child of a prosperous miller.
Within five years of opening his studio in Leiden in 1624, Rembrandt had been discovered by the Dutch court; he soon moved to Amsterdam, married well and bought a house in a fashionable quarter.
From then, despite his success as a painter, he was plagued by personal tragedy and money problems. Only his fourth child, Titus, born in 1641, survived beyond infancy, and his wife Saskia died in 1642. Rembrandt narrowly avoided bankruptcy in his early fifties (he had to sell his house a few years later).
After an unfortunate relationship with his ailing wife's nurse, he took up with a young maid, Hendrickje, who, with Titus, assisted in the final years of his career.
Rembrandt died in 1669, outliving his son by a year and Hendrickje by six.
Mike Higgins
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