after Three Studies of the Male Back (1970) - (centre panel) Framed
after Three Studies of the Male Back (1970) - (centre panel) Framed
Francis Bacon
after Three Studies of the Male Back (1970) - centre panel, 1987
Lithograph on Arches paper
Sheet: 78.7 × 51.5 cm. 31 x 20 1/4 in.
Image: 61 × 43.2 cm. 24 x 17 in.
Image: 61 × 43.2 cm. 24 x 17 in.
Edition of 99 (plus proofs)
Signed in pencil lower right
Edition of 99 with Arabic numbering, together with a number of H.C. (Hors Commerce) and E.A. (artist proofs). Inspired by the painting of the same title in the collection of...
Edition of 99 with Arabic numbering, together with a number of H.C. (Hors Commerce) and E.A. (artist proofs). Inspired by the painting of the same title in the collection of Kunsthaus Zurich, Switzerland
After Three Studies of a Male Back exemplifies Bacon’s blending of human and animalistic qualities, similar to his *Bull Fight* series. In this triptych, Bacon explores the distorted human form, particularly that of his lover and muse, George Dyer, whose presence profoundly impacted Bacon's work. The left and right panels feature Dyer with a distorted head reflected in a mirror, recalling Bacon's Portraits series, where abstracted forms express anguish and alienation.
The central panel presents Dyer’s body in a fluid, surreal state, dissolving into curved lines and geometric shapes, symbolising the fragility of the human form and emotional fragmentation. This triptych reflects Bacon's grief and guilt following Dyer's suicide in 1971, which haunted him and inspired many of his later works. The distorted, twisted figures in Three Studies of a Male Back serve as a poignant homage to Dyer, representing the emotional complexity and vulnerability of their relationship.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/three-studies-male-back
After Three Studies of a Male Back exemplifies Bacon’s blending of human and animalistic qualities, similar to his *Bull Fight* series. In this triptych, Bacon explores the distorted human form, particularly that of his lover and muse, George Dyer, whose presence profoundly impacted Bacon's work. The left and right panels feature Dyer with a distorted head reflected in a mirror, recalling Bacon's Portraits series, where abstracted forms express anguish and alienation.
The central panel presents Dyer’s body in a fluid, surreal state, dissolving into curved lines and geometric shapes, symbolising the fragility of the human form and emotional fragmentation. This triptych reflects Bacon's grief and guilt following Dyer's suicide in 1971, which haunted him and inspired many of his later works. The distorted, twisted figures in Three Studies of a Male Back serve as a poignant homage to Dyer, representing the emotional complexity and vulnerability of their relationship.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/three-studies-male-back
Provenance
Published by Michael Peppiatt for the review Art international and printed by the Galerie Lelong, ParisPublications
Bruno Sabatier, Francis Bacon, The Graphic Work, no. 21Alexandre Tacou, Francis Bacon, Estampes, no. 21
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