Francis Bacon Three Studies for a Self-Portrait For Sale

Francis Bacon’s Three Studies for a Self-Portrait presents slightly distorted representations of Bacon's face, emerging from an enveloping black background. This work stands out as one of Bacon's profound self-examinations, part of a larger series of self-portraits created in the wake of his lover George Dyer’s tragic suicide in 1971.

George Dyer’s death had a lasting impact on Bacon, and his grief permeated many of his works throughout the 1970s. Three Studies for a Self-Portrait is emblematic of Bacon’s introspective turn during this period. Bacon, who was nearing seventy years old when the triptych was completed, presents a face that appears both timeless and distorted, suggesting his ongoing struggle with identity, age, and loss. Despite his age, Bacon’s depiction of himself in these works avoids any obvious signs of ageing, presenting a figure that seems suspended in time, a reflection of the artist's complex relationship with his own mortality.

The triptych format, which Bacon often employed in his portraits, allows the viewer to engage with three aspects of the artist’s face. The central panel presents a frontal view, while the two side panels offer slightly three-quarter views. This structure emphasises a fractured sense of self, as each panel shows Bacon’s face in a slightly different light and angle. The distortions in the work reflect Bacon’s intense self-criticism and his dissatisfaction with his own appearance. He famously described his own face as "resembling a pudding" and expressed a loathing for his physical appearance. Despite this self-deprecation, Bacon turned to self-portraiture repeatedly during this period, possibly as a way to confront the changes in his life and the emotional scars left by Dyer’s death.

The dark colour palette of the triptych, combined with the heavy gives the portraits a weighty, almost oppressive atmosphere. The black backgrounds emphasise the isolation of each head, which is confined in tightly controlled, shallow spaces. This approach intensifies the viewer’s focus on the face, as the undefined backgrounds remove any context or distraction, leaving only Bacon’s distorted features to be examined. The brushstrokes themselves, broad and thick, are indicative of Bacon’s desire to capture the brutality of existence. The distorted features of his face are not merely physical but suggest the emotional and psychological impact of his life experiences.

The deep psychological tension in the set is evident in the way the artist presents himself—as a figure fractured, distorted, and caught between different perspectives. The viewer is encouraged to move from one panel to the next, as if circling Bacon’s head, each view offering a slightly different insight into his complex character.

Despite being a highly social figure in public life, Bacon was intensely private about his personal experiences, particularly when it came to his art. He painted from photographs rather than live models, and this is especially evident in his self-portraits. By avoiding direct confrontation with his own image in a mirror, Bacon was able to achieve a level of detachment that allowed for greater manipulation and distortion. This method also reflects the degree to which Bacon guarded his inner world, allowing only glimpses of his personal pain and existential fears to surface in his works.

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With a global network of active buyers, Andipa Editions are the place to sell your Francis Bacon Three Studies for a Self-Portrait 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 Three Studies for a Self-Portrait print, contact us via sales@andipa.com or on +44 (0) 20 7589 2371. Explore our collection of Francis Bacon prints for sale.