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Obras
Triptych (1971) - left panel
Francis Bacon
after Triptych (1971 ) - left panel, 1975
Offset lithograph on Fabiano paper
Sheet: 85.1 x 61 cm. 33 1/2 x 24 in.
Image: 75.5 × 55.5 cm. 29 3/4 x 22 in.
Image: 75.5 × 55.5 cm. 29 3/4 x 22 in.
Edition of 200 (plus proofs)
Signed in felt-tip lower right
£11,500 GBP
Further images
Edition of 200 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 200 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 the Fondation Beyer, Basel, Switzerland.
Bacon’s after Triptych (1971) is a striking portrayal of human bodies engaged in a violent and chaotic interaction, emblematic of his fascination with the raw, primal aspects of the human condition. The image depicts two figures locked in an ambiguous, contorted position, suggestive of both struggle and intimacy. Bacon's characteristic distortion of anatomy is evident in the muscular limbs and twisted torsos, rendering the bodies as almost unrecognisable forms. This abstraction of the human figure heightens the sense of violence and discomfort, and at the same time evokes a more complex emotional engagement, as the figures seem to hover between aggression and connection.
The composition is minimalist, with the figures placed on an elevated curve that resembles a wrestling mat or beam, hovering against a flat, muted background. The simplicity of the space directs full attention to the physicality of the bodies, while the curved surface creates a sense of precariousness, as if the figures are suspended in a moment of instability. Bacon frequently used this type of abstract platform to isolate his figures from their surroundings, heightening the psychological tension and forcing the viewer to focus on the intense human drama unfolding. The pale background contrasts with the bold, fleshy tones of the bodies, further isolating the figures and imbuing the scene with a cold, clinical detachment.
Colour is central to the emotional impact of the piece. The flesh tones of the figures are rendered in shades of pinks, browns, and reds, emphasising the organic, almost carnal nature of their interaction. The use of shadow and light adds depth and dynamism to the forms, giving the impression of movement and struggle. The background, an almost sterile grey, reinforces a sense of isolation, creating a stark contrast with the vividly rendered figures. This tension between the figures and their environment reflects Bacon’s ongoing exploration of themes such as alienation, brutality, and the fragility of human relationships, themes which resonate throughout his body of work.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/memory-george-dyer
Bacon’s after Triptych (1971) is a striking portrayal of human bodies engaged in a violent and chaotic interaction, emblematic of his fascination with the raw, primal aspects of the human condition. The image depicts two figures locked in an ambiguous, contorted position, suggestive of both struggle and intimacy. Bacon's characteristic distortion of anatomy is evident in the muscular limbs and twisted torsos, rendering the bodies as almost unrecognisable forms. This abstraction of the human figure heightens the sense of violence and discomfort, and at the same time evokes a more complex emotional engagement, as the figures seem to hover between aggression and connection.
The composition is minimalist, with the figures placed on an elevated curve that resembles a wrestling mat or beam, hovering against a flat, muted background. The simplicity of the space directs full attention to the physicality of the bodies, while the curved surface creates a sense of precariousness, as if the figures are suspended in a moment of instability. Bacon frequently used this type of abstract platform to isolate his figures from their surroundings, heightening the psychological tension and forcing the viewer to focus on the intense human drama unfolding. The pale background contrasts with the bold, fleshy tones of the bodies, further isolating the figures and imbuing the scene with a cold, clinical detachment.
Colour is central to the emotional impact of the piece. The flesh tones of the figures are rendered in shades of pinks, browns, and reds, emphasising the organic, almost carnal nature of their interaction. The use of shadow and light adds depth and dynamism to the forms, giving the impression of movement and struggle. The background, an almost sterile grey, reinforces a sense of isolation, creating a stark contrast with the vividly rendered figures. This tension between the figures and their environment reflects Bacon’s ongoing exploration of themes such as alienation, brutality, and the fragility of human relationships, themes which resonate throughout his body of work.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/memory-george-dyer
Provenance
Published by Marlborough, ZurichPublications
Bruno Sabatier, Francis Bacon, The Graphic Work, no. 32Alexandre Tacou, Francis Bacon, Estampes, no. 5
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