Francis Bacon

Edition of 99 with Arabic numbering, 15 E.A. (artist proofs). Inspired by the painting of the same title in the collection of a private collector, Switzerland.

Based on his monumental painting from the same period, after Triptych (1986/1987) explores the intersection of historical, political, and personal themes. Each panel—depicting Woodrow Wilson, John Edwards, and Leon Trotsky—demonstrates Bacon's ability to weave together grand historical narratives with intimate relationships, creating a dialogue between the public and private spheres.

In the left panel, Woodrow Wilson is shown exiting the Palace of Versailles, symbolising the transient nature of political power and the fleeting impact of his decisions, particularly regarding the Treaty of Versailles. The figure’s mid-step posture and the dark background highlight the impermanence of leadership and historical legacies.

The central panel portrays John Edwards, a close companion of Bacon, positioned on a plinth, signifying his personal importance to the artist. Bacon’s intimate and distorted depiction of Edwards suggests the complexity of personal relationships and their grounding influence amidst historical turmoil.

In the right panel, Leon Trotsky’s assassination is referenced through a chilling, stark depiction inspired by a photograph of his study post-murder. This scene emphasises themes of betrayal, ideological conflict, and the brutal cost of political struggles, reflecting Bacon’s fascination with suffering and mortality within political contexts.

Together, the triptych merges personal and political realms, exploring the fragility of power, the depth of personal bonds, and the violent consequences of political ideologies.

For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/triptych-1986-7