Francis Bacon Triptych 1986-1987 For Sale

After Triptych (1986/1987), based on Bacon’s monumental triptych painting of the same period, offers a profound exploration of historical, political, and personal themes, serving as a vivid testament to Bacon’s engagement with the turbulent dynamics of his time. Each panel in this triptych—depicting Woodrow Wilson, Leon Trotsky, and John Edwards—captures Bacon’s ability to interweave grand historical narratives with intimate personal relationships, ultimately creating a complex dialogue between the public and private spheres.

The Left Panel - Woodrow Wilson

The left panel, representing Woodrow Wilson, is striking in its depiction of the American President, seemingly mid-step as he exits the Palace of Versailles. The dark background enveloping the figure creates an almost theatrical spotlight effect, emphasising the gravity of Wilson's actions in shaping the post-war world. By selecting Wilson, Bacon not only captures a pivotal historical moment but also comments on the fragility and impermanence of political power. The figure's stance—one foot lifted, as if walking out of history—suggests the fleeting nature of political achievements and the inescapable passage of time.

The decision to include Wilson ties the piece to broader themes of political decision-making and its consequences, particularly the controversial aftermath of the Treaty of Versailles, which many historians argue laid the groundwork for World War II. Bacon's interpretation of this historical figure is not straightforward; it hints at the complexities and contradictions of leadership, as well as the burden of responsibility borne by those in power. This representation can be seen as a commentary on how political actions are often transient and subject to reinterpretation, much like Bacon’s fluid, ever-morphing style.

The Central Panel - John Edwards

In the central panel, Bacon’s depiction of John Edwards is the most intimate and personal of the three. Edwards, who was a constant presence in Bacon's life and a significant figure in his later years, is portrayed sitting on what appears to be a plinth or pedestal, suggesting that this is a figure of immense personal importance to the artist. Edwards’ placement in the middle of this triptych, between two historical giants, underscores the significance of their relationship and elevates it to a level of historical importance.

The representation of Edwards is typical of Bacon's style—distorted, flesh-like, and almost sculptural in its treatment. The figure is both present and abstracted, a reflection of how Bacon perceived those close to him: as complex, multifaceted beings caught in moments of intense emotion and experience. The central positioning of Edwards within the triptych suggests that, for Bacon, this relationship was a grounding force amidst the chaos of the political and historical turbulence surrounding him. Edwards' inclusion speaks to the way personal connections can serve as a stabilising anchor in a world marked by conflict and uncertainty.

The Right Panel - Leon Trotsky

The right panel of the triptych references the assassination of Leon Trotsky in Mexico in 1940, a moment that resonated deeply within the global political consciousness of the 20th century. The depiction is inspired by the famous photograph of Trotsky's study shortly after his assassination, with the presence of a bloodied cloth serving as a chilling reminder of the violence that punctuated Trotsky’s life and death. This panel introduces themes of betrayal, ideological conflict, and the brutal consequences of political struggle.

The stark, almost clinical rendering of this scene serves as a powerful contrast to the more abstract representation of Edwards in the central panel. Bacon's choice to portray Trotsky's death in such a stark manner reflects his fascination with the intersection of life, death, and politics. This imagery aligns with Bacon's broader exploration of suffering and mortality, themes that recur throughout his work. It also emphasises the idea that political ideals are often pursued at the cost of human life, a message that resonates with the broader historical narratives of the 20th century..

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