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Artworks
after Oresteia of Aeschylus, (1981)
Francis Bacon
after Triptych (1981) inspired by the Oresteia of Aeschylus, 1981
Three Lithographs in colours on one sheet of Arches Infinity watermarked paper, with full margins
Single sheet: 53.5 x 103.5 cm. 21 x 41 in.
Each image: 40 x 29 cm. 15 3/4 x 16 1/4 in.
Each image: 40 x 29 cm. 15 3/4 x 16 1/4 in.
Edition of 150 (plus proofs)
Signed in pencil lower right
Stamped lower left
Stamped lower left
£18,500 GBP + vat
Further images
Edition of 150 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 150 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 Astrup Fearnley Museet, Oslo, Norway.
After Triptych (1981) inspired by the Oresteia of Aeschylus tells of the tragic suicide of his companion George Dyer in 1971 and reflects Bacon's deep sense of loss, guilt, and despair. The work is not just a depiction of Dyer's death, but an introspective exploration of Bacon's emotional turmoil. Dyer's figure appears in each panel, set against a desolate beach landscape, conveying isolation and vulnerability. The recurring image of a black umbrella symbolises fragility and impending doom, while Dyer’s contorted, suffering form evokes inner turmoil.
In the central panel, Dyer’s figure seems to dissolve into the background, symbolising the fading but ever-present memory of him in Bacon’s mind. The stark emptiness of the beach setting, along with the harsh lighting and elongated shadows, emphasises the emotional complexity of Bacon’s grief, evoking a sense of existential drift between life and death.
Bacon’s distorted rendering of Dyer's figure, marked by grotesque anatomy and contorted poses, captures the fragility of the human condition. This triptych serves as both a personal tribute to Dyer and a meditation on love, loss, and mortality. Through his visceral style, Bacon transforms his personal tragedy into a universal exploration of grief and the passage of time, making the piece one of his most powerful and intimate works.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/triptych-inspired-oresteia-aeschylus
After Triptych (1981) inspired by the Oresteia of Aeschylus tells of the tragic suicide of his companion George Dyer in 1971 and reflects Bacon's deep sense of loss, guilt, and despair. The work is not just a depiction of Dyer's death, but an introspective exploration of Bacon's emotional turmoil. Dyer's figure appears in each panel, set against a desolate beach landscape, conveying isolation and vulnerability. The recurring image of a black umbrella symbolises fragility and impending doom, while Dyer’s contorted, suffering form evokes inner turmoil.
In the central panel, Dyer’s figure seems to dissolve into the background, symbolising the fading but ever-present memory of him in Bacon’s mind. The stark emptiness of the beach setting, along with the harsh lighting and elongated shadows, emphasises the emotional complexity of Bacon’s grief, evoking a sense of existential drift between life and death.
Bacon’s distorted rendering of Dyer's figure, marked by grotesque anatomy and contorted poses, captures the fragility of the human condition. This triptych serves as both a personal tribute to Dyer and a meditation on love, loss, and mortality. Through his visceral style, Bacon transforms his personal tragedy into a universal exploration of grief and the passage of time, making the piece one of his most powerful and intimate works.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/triptych-inspired-oresteia-aeschylus
Provenance
Published by the Éditions de la Différence, Paris, and printed by Arts Litho, ParisPublications
Bruno Sabatier, Francis Bacon, The Graphic Work, no. 16Alexandre Tacou, Francis Bacon, Estampes, no. 12