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Triptych Inspired by the Oresteia of Aeschylus
"How are you going to trap reality? How are you going to trap appearance without making an illustration of it? That is one of the great fights, of the great excitements of being a figurative artist today."
The Oresteia of Aeschylus triptych draws on the raw emotional power and timeless themes of the ancient Greek tragedies. Bacon, deeply influenced by literature throughout his career, found a unique resonance in the plays of Aeschylus, particularly in the *Oresteia*, a trilogy that delves into themes of fate, revenge, guilt, and the consequences of violence. These are themes that are also central to Bacon’s work, where human suffering, existential dread, and the darker aspects of life are ever-present.
The Oresteia is a foundational text of Western literature, telling the story of the House of Atreus and its descent into violence and retribution. Central to the trilogy is the figure of Orestes, who avenges the murder of his father, Agamemnon, by killing his mother, Clytemnestra. The themes of matricide, justice, and the inevitable cycle of violence deeply fascinated Bacon, who often explored the nature of human suffering and the primal forces that drive human behaviour in his own work.
Bacon had previously referenced Aeschylus in his paintings, and the Oresteia provided him with a profound literary parallel for his depiction of human vulnerability. Bacon’s fascination with violence, not only in physical terms but also in the psychological and emotional dimensions, is echoed in the violent familial conflict of the trilogy. Much like Aeschylus’ characters, who are caught in the grips of fate and moral ambiguity, Bacon’s figures are often depicted as trapped in a universe that is indifferent, if not hostile, to human existence.
The lithograph itself embodies Bacon’s signature style of distorted figures and ambiguous spaces, offering a visual interpretation that captures the essence of Aeschylus’ tragic universe. Bacon’s figures often appear as though they are caught in moments of intense psychological or physical agony, reflecting the tortured emotions and inevitable downfall of Aeschylus’ characters. In the context of the Oresteia. Bacon's imagery resonates with the tragedy's themes of cyclical violence and the impossibility of escape from one’s destiny.
In Oresteia of Aeschylus, the figures are enveloped in darkness, emerging as though from the shadows of a theatrical set. Bacon’s use of enclosed, claustrophobic spaces heightens the sense of entrapment and inevitability that dominates the tragic narrative. The distorted forms, which are characteristic of Bacon’s work, evoke a visceral sense of pain and torment, mirroring the physical and emotional suffering endured by the characters in the trilogy.
The set also suggests Bacon’s ongoing exploration of the human body as a site of both vulnerability and violence. Much like the figures in his *Screaming Popes* or his self-portraits, the figures in the Oresteia of Aeschylus are dehumanised, reduced to raw, pulsating flesh. This reduction of the human form to its most basic and brutal state reflects the play’s themes of primal violence and the body’s inevitable decay. It is through this imagery that Bacon captures the tragedy of human existence—an existence that is defined by suffering, conflict, and death.
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