Edition of 99 on Guarro paper with Arabic numbering, a further edition of 99 on Arches paper with Roman numbering, 15 H.C. (Hors Commerce) and 15 E.A. (artist proofs) on each type of paper. Inspired by the painting of the same title in the collection of a private collector, USA. This was is an interpretive etching of this particular painting.

After Study for a Portrait (1981) (Seated Figure) explores themes of distortion, isolation, and the fragility of existence, reflecting his fascination with existentialist concepts. The central figure is confined in a box-like space, with contrasting backgrounds—a dark expanse and a reflective surface, likely a mirror—creating a sense of duality and fractured identity. The distorted, fragmented reflection of the figure reinforces this idea.

The figure's seated position, coupled with sharp angular lines and a fluid, melting form, heightens the tension between structure and chaos. An incomplete circular arc behind the figure's head adds ambiguity, while the blurred, almost obliterated face reflects Bacon’s recurring theme of fluid identity and existential uncertainty. The contrast between the fleshy, vulnerable figure and the empty background underscores themes of mortality and decay.

Seated Figure is an extension of Bacon's interest in existentialism, using distortion as a metaphor for the fragmented, uncertain human experience and the struggle to find meaning in an indifferent world.

For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/study-portrait-23