after the central panel of the triptych Studies of the human body, (1979)
after the central panel of the triptych Studies of the human body, (1979) Framed
Francis Bacon
after the central panel of the triptych Studies of the Human Body, (1979), 1980
Offset lithograph on Arches paper
Sheet: 101.5 × 66 cm. 40 x 26 in.
Image: 89 × 66 cm. 31 1/2 x 26 in.
Image: 89 × 66 cm. 31 1/2 x 26 in.
Edition of 250 (plus proofs)
Signed in felt-tip pen lower right
Edition of 250 with Arabic numbering, together with a number of H.C. (Hors Commerce) and E.A. (artists proofs). Inspired by the painting of the same title in the collection of...
Edition of 250 with Arabic numbering, together with a number of H.C. (Hors Commerce) and E.A. (artists proofs). Inspired by the painting of the same title in the collection of a private collector.
In after Study for Self-Portrait (1982), Bacon delves into the human condition through a distorted and fragmented portrayal of himself, continuing his exploration of self-portraiture that became prominent in his later years, particularly in the 1970s and 1980s. This piece reflects themes of ageing, isolation, and mortality. Bacon's characteristic manipulation of the human form is evident, with the figure seated in a twisted pose, evoking vulnerability and tension. The head, distorted and fragmented, conveys emotional and physical strain, highlighting Bacon’s focus on the fragility of identity.
The composition amplifies the isolation, with the figure placed against a stark, minimalist background of pale blue and sandy beige. This empty, clinical setting pushes the figure into sharp focus, heightening the sense of dislocation and introspection. Geometrical lines, like the diagonal splitting the floor and wall, add to the disorienting effect, reinforcing themes of entrapment and existential confinement.
Bacon’s use of subdued colours contrasts the dark, muted tones of the figure with the soft background, reflecting his preoccupation with mortality and the dissolution of the self. The calm palette juxtaposed with the distorted figure highlights the tension between external calm and inner turmoil, a hallmark of Bacon’s self-portraits.
Bacon’s self-portraits are more than mere likenesses; they are psychological and emotional studies, reflecting on the instability of identity and the existential angst of confronting isolation, impermanence, and mortality. This work, like others in his self-portrait series, encapsulates his introspective examination of the raw emotions tied to the human experience.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/triptych-studies-human-body-1
In after Study for Self-Portrait (1982), Bacon delves into the human condition through a distorted and fragmented portrayal of himself, continuing his exploration of self-portraiture that became prominent in his later years, particularly in the 1970s and 1980s. This piece reflects themes of ageing, isolation, and mortality. Bacon's characteristic manipulation of the human form is evident, with the figure seated in a twisted pose, evoking vulnerability and tension. The head, distorted and fragmented, conveys emotional and physical strain, highlighting Bacon’s focus on the fragility of identity.
The composition amplifies the isolation, with the figure placed against a stark, minimalist background of pale blue and sandy beige. This empty, clinical setting pushes the figure into sharp focus, heightening the sense of dislocation and introspection. Geometrical lines, like the diagonal splitting the floor and wall, add to the disorienting effect, reinforcing themes of entrapment and existential confinement.
Bacon’s use of subdued colours contrasts the dark, muted tones of the figure with the soft background, reflecting his preoccupation with mortality and the dissolution of the self. The calm palette juxtaposed with the distorted figure highlights the tension between external calm and inner turmoil, a hallmark of Bacon’s self-portraits.
Bacon’s self-portraits are more than mere likenesses; they are psychological and emotional studies, reflecting on the instability of identity and the existential angst of confronting isolation, impermanence, and mortality. This work, like others in his self-portrait series, encapsulates his introspective examination of the raw emotions tied to the human experience.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/triptych-studies-human-body-1
Provenance
Published by the Marlborough, New YorkPublications
Bruno Sabatier, Francis Bacon, The Graphic Work, no. 34Alexandre Tacou, Francis Bacon, Estampes, no. 10
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