Francis Bacon Autoportrait 1977 For Sale

  • Self portrait 1977

    Francis Bacon after Self-Portrait (1973)

    Facts | History | Meaning
    Catalogue Title after Self-Portrait (1973)
    Year 1977
    Size

    Sheet: 102 × 72.5 cm. 40 x 28 1/2 in.
    Image: 85 × 63.5 cm. 33 1/2 x 25 in.

    Medium Lithograph.
    Edition

    Published by the Galarie Claude Bernard, Paris, for the exhibiition of 1977 and printed by Mouriot, Paris, on Arches paper.

    - 180 copies with Arabic numbering, together with a number of E.A.
    - All copies signed in purple felt-tip on the bottom right.

  • Francis Bacon Self Portrait 1077

    "Painting unlocks all kind of valves of sensations within me which returns me to life more violently"

    Self-Portrait, like many of his self-portraits, is an intimate exploration of identity, the passage of time, and the fragility of human existence. Bacon returned to the self-portrait format repeatedly throughout his career, often using the genre to explore themes of isolation, mortality, and psychological turmoil.


    Bacon’s fascination with self-portraits was not merely about physical representation. Rather, his self-portraits often delved deep into his own psyche, expressing internal conflict and existential anguish. Unlike traditional self-portraits that might celebrate or glorify the artist, Bacon’s works are unsettling and often violent in their portrayal. They reflect his complex relationship with identity, where the self is in a constant state of flux and disintegration. 


    For example, in his *Self-Portrait* (1969), Bacon portrays himself in a brutally distorted manner, his face twisted, with features blending into each other, giving the sense of the self being caught in a moment of violent transition. His use of distortion was not simply aesthetic but psychological, reflecting his view of the self as fragmented and constantly under threat from internal and external forces. Similarly, his *Three Studies for a Self-Portrait* (1979–80) presents his face from different angles, all slightly warped and grotesque, as though each perspective reveals a different aspect of his interior life, none of them complete or whole.


    In *Self-Portrait* (1973), Bacon sits in a pose of isolation, his body twisted and closed in on itself, arms crossed and legs bent inward, creating a compact, almost defensive posture. The figure is seated on a bentwood chair, a common piece of furniture in many of Bacon’s interiors, and the floor’s curved lines add to the sense of confinement within a small space. The setting seems sparse, clinical even, with a stark, unadorned background. This minimalist environment places all focus on the figure, intensifying the sense of psychological isolation.


    The face, as in many of Bacon’s self-portraits, is distorted, with features merging and disintegrating into one another. This dissolution of the face reflects Bacon’s interest in the impermanence of identity and the erosion of the self over time. Bacon once remarked that his aim was not to paint people as they appear, but to paint them as he feels them. This distortion is not just a stylistic choice but an emotional one, meant to convey the turmoil of his internal world.


    One of the striking features of this portrait is the use of muted colours that enhance the sombre and introspective mood of the piece. The tones of grey, pale blue, and yellow create a melancholic atmosphere, which reflects the artist’s confrontation with his own mortality. Bacon frequently explored the themes of decay and impermanence, and in this self-portrait, the sense of a fading or disintegrating identity is palpable. The body seems almost drained of life, the face ghostly and contorted, suggesting the physical and emotional toll of time and existence.


    Bacon’s self-portraits often reflect his preoccupation with mortality, a theme that became particularly pronounced after the death of his lover, George Dyer, in 1971. This loss profoundly affected Bacon and fueled some of his most poignant works, many of which depict death, suffering, and existential anguish. In his self-portraits, Bacon confronts the inevitability of death, capturing his own image as it dissolves or fractures, as if to acknowledge the slow disintegration of life itself.

  • Buy or sell Self Portrait 1977 by Francis Bacon at Andipa Editions

    Buy Francis Bacon Autoportrait 1977

    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 Autoportrait 1977, contact us via sales@andipa.com or on +44 (0) 20 7589 2371.

     

     

     

    Sell Francis Bacon Autoportrait 1977

    With a global network of active buyers, Andipa Editions are the place to sell your Autoportrait 1977 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 Autoportrait 1977 print, contact us via sales@andipa.com or on +44 (0) 20 7589 2371. Explore our collection of Francis Bacon prints for sale.