-
-
Three studies of the male back
"This triptych serves as an homage to George Dyer, a figure who played a pivotal role in Bacon's life and art. Dyer, a petty criminal from London’s East End, became Bacon’s lover and muse after their meeting in 1963."
In three studies of the male back Bacon's distinctive blend of human and animalistic qualities is on full display, much like his *Bull Fight* series. In those works, such as *Study for Bullfight (Right Panel)* (1980) and *Study for Bullfight (Centre Panel)* (1990), Bacon blurs the boundaries between the human and the primal, suggesting a deep, visceral connection between the two realms. This theme is also evident in Three Studies of the Male Back, where the body is at once familiar and deformed, caught in a moment of contorted introspection as it confronts its reflection in a mirror.
The left and right panels feature the figure of George Dyer with a distorted head reflected back at the viewer through a mirror. This element recalls Bacon’s *Portraits* series, in which human heads are deconstructed into abstract forms, expressing anguish or alienation through bold, gestural strokes of red, black, and white paint. The face in these panels is reduced to a visceral smear of emotion, the distortion heightened by the contrast between the mirror’s reflection and the figure’s outwardly composed body.
In contrast, the centre panel presents Dyer’s body in a more fluid, almost surreal state. The human figure seems to dissolve into a network of curved lines and geometric shapes, blending into the rigid structure of the frame and the cool, hard-edged blue horizon behind it. Dyer’s spine, typically a symbol of strength or structure, appears to merge with the abstracted space around it, suggesting a breakdown of the boundary between body and environment. This distortion echoes Bacon's fascination with the fragility of the human form, as well as the emotional fragmentation that often defined his subjects.
This triptych serves as an homage to George Dyer, a figure who played a pivotal role in Bacon's life and art. Dyer, a petty criminal from London’s East End, became Bacon’s lover and muse after their meeting in 1963. The turbulent relationship between Bacon and Dyer profoundly shaped Bacon’s work throughout the 1960s and early 1970s. Dyer's presence in Bacon's life brought both inspiration and tragedy, culminating in Dyer’s suicide in 1971, just days before the opening of Bacon’s major retrospective at the Grand Palais in Paris. This personal loss haunted Bacon, and Dyer’s image appeared repeatedly in his paintings, often portrayed in contorted, anguished forms as a reflection of Bacon's grief and guilt.
Three studies of the male back stands as a poignant example of this dynamic. It encapsulates not only the physical form of Dyer but also the emotional complexities that underpinned Bacon’s artistic process. The body, twisted and fractured, becomes a symbol of both the strength and vulnerability inherent in their relationship. Through these prints, Bacon reflects on his muse not as a passive figure, but as an active and enduring presence in his artistic universe.
-
-
Buy or sell Francis Bacon Three studies of the male back at Andipa Editions
Buy Francis Bacon Three studies of the male back
Andipa Editions, as part of Andipa, have been at the forefront of the Bacon market for over 25 years. To enquire about buying Francis Bacon Three studies of the male back contact us via sales@andipa.com or on +44 (0) 20 7589 2371.
Sell Francis Bacon Three studies of the male back
With a global network of active buyers, Andipa Editions are the place to sell your Francis Bacon Three studies of the male back print. Straight-forward and stress-free, we manage the process on your behalf and help to maximise your return. For a complimentary valuation of your Francis Bacon Three studies of the male back, contact us via sales@andipa.com or on +44 (0) 20 7589 2371. Explore our collection of signed Francis Bacon prints for sale.
Francis Bacon Three studies of the male back For Sale
Current viewing_room
