Edition of 60 with Arabic numbering, 23 H.C. "Hors Commerce" proofs, 8 E.A. (artist proofs). Inspired by the painting of the same title in the collection of the Tate Gallery, London, England

After Second Version of the Triptych (1944) is Francis Bacon's reimagining of his earlier work Three Studies for Figures at the Base of a Crucifixion, capturing the core themes of grotesque, humanoid figures that embody both the trauma of the era and Bacon's personal struggles. The figures reflect the scars of global conflict and Bacon's inner turmoil, particularly regarding his sexuality in a time of societal condemnation.

The original 1944 painting, created at the end of World War II, shocked viewers with its visceral, semi-human forms, merging Christian iconography and Greek mythology, particularly the Furies from Aeschylus's *Oresteia*, as symbols of violence and despair. This post-war artwork reflected Bacon's experiences during the London Blitz and conveyed existential dread and human fragility.

The distorted figures in the triptych also symbolise Bacon’s struggle with his repressed sexuality, with their contorted forms representing internal torment. The abstract, grotesque bodies trapped in geometric framing evoke a sense of entrapment and existential angst. Bacon's decision to revisit this work in 1988 may indicate a retrospective exploration of his past traumas and the evolution of his artistic vision, seeking to impose order on the chaotic forces that shaped his life and art.

For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/three-studies-figures-base-crucifixion
and also: https://www.francis-bacon.com/artworks/paintings/second-version-triptych-1944