Francis Bacon Triptych 1981 For Sale

After Triptych (1974/1977) is one of the last in a series that Francis Bacon created following the tragic suicide of his long-time companion George Dyer in 1971, encapsulates the profound sense of loss, guilt, and despair that Bacon experienced in the aftermath of Dyer's death. As with much of Bacon's work, this piece is not merely a depiction of an event but a deeply introspective exploration of his own emotional turmoil and the haunting memory of Dyer.

The central motif is Dyer’s figure, which appears in each panel, set against a stark, desolate beach landscape. The imagery is suffused with a sense of isolation and vulnerability, themes that Bacon repeatedly explored in the wake of Dyer's passing. In the left and right panels, Dyer is shown beneath a black umbrella, a recurring symbol in Bacon's work that often represents shelter, fragility, or impending doom. The umbrella might signify Bacon's desire to protect Dyer or the sense of looming tragedy that marked their tumultuous relationship. In these panels, Dyer's form appears contorted and distorted, suggesting an inner struggle or suffering, his body twisted into unnatural, almost agonising poses. The umbrella, rather than providing comfort, seems to heighten the sense of unease, acting as a shroud that underscores the melancholic tone of the work.

The middle panel of the triptych is especially poignant. Here, Dyer's figure seems to be caught in a state of transformation or dissolution, his body merging with the shadowy background, almost disappearing into the void. Two portraits hang on the wall in the background, which is a classic Bacon technique used to juxtapose the living against a world of decay and death. This composition reflects the way in which Dyer's presence lingered in Bacon's consciousness after his death—half-remembered, fading, yet indelibly imprinted on the artist's psyche. The portraits on the wall seem to serve as witnesses to Dyer's struggle, their expressionless faces reinforcing the themes of observation, memory, and inevitability that run throughout Bacon's work.

Bacon’s portrayal of Dyer's figure in these panels is a testament to his ability to convey the raw emotion and existential pain that defined their relationship. Dyer, who became Bacon’s muse and lover, was a central figure in Bacon’s life, and his sudden death left an indelible scar on the artist. This triptych can be seen as an attempt by Bacon to come to terms with the devastating impact of Dyer's suicide, a way to keep his memory alive while simultaneously grappling with the overwhelming sense of guilt and helplessness that consumed him. The stark emptiness of the beach setting serves to amplify this feeling of loss, transforming it into an almost purgatorial space where Bacon repeatedly revisits the trauma of Dyer’s death.

The use of light and shadow in this work is particularly striking. The harsh, almost clinical lighting emphasises the nakedness and vulnerability of Dyer's body, while the elongated shadows create a sense of dislocation and instability. This interplay between light and darkness mirrors the emotional complexity of Bacon’s grief, capturing the sense of being caught between life and death, memory and reality.

Bacon's decision to place Dyer in a beach setting could be interpreted as symbolic of transition, as beaches are often liminal spaces between land and sea, life and death, stability and chaos. This choice suggests a kind of existential drift, as if Dyer is caught in a perpetual struggle between existence and non-existence, a reflection of Bacon's own struggle to process the loss.

Additionally, the distorted, almost grotesque rendering of Dyer's figure is emblematic of Bacon's signature style. His use of contorted anatomy speaks to the fragility of the human condition, echoing the sense of decay and impermanence that pervades his work. It also suggests Bacon's perception of Dyer not as a static image but as a figure caught in the throes of emotional and physical anguish—a poignant reminder of the pain that defined much of their relationship.

The triptych serves as a raw, intimate chronicle of Bacon's grief, and the way he channels this emotion into his art reflects his unique ability to transform personal tragedy into universal experience. In this sense, the triptych stands as more than a portrait of George Dyer; it is a meditation on love, loss, and the inexorable passage of time. Bacon's depiction of Dyer as a figure both present and absent, both protected and exposed, captures the contradictions and complexities of their bond, ultimately serving as a haunting, enduring tribute to a love that was as painful as it was profound.

Buy Francis Bacon Triptych 1981

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 Triptych 1981, contact us via sales@andipa.com or on +44 (0) 20 7589 2371.

Sell Francis Bacon Triptych 1981

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