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Francis Bacon

Francis Bacon

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Open a larger version of the following image in a popup: Francis Bacon, Three Studies of Male Back (Central panel of the triptych), 1987

Francis Bacon

Three Studies of Male Back (Central panel of the triptych), 1987
Original Lithograph in colours
image: 65 x 45cmm 23¾ by 17⅝in
sheet: 80 x 590mm 31¾ by 23¼in
Edition of 99 plus HC's and EA's (AP's)
Hand Signed in Pencil
Enquire
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Visualisation

On a Wall
Francis Bacon’s visceral, macabre portraits express the widespread anxieties of post-war Europe and the artist’s own personal demons. Bacon painted howling abstracted faces and crucifixes in claustrophobia-inducing settings, made all...
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Francis Bacon’s visceral, macabre portraits express the widespread anxieties of post-war Europe and the artist’s own personal demons. Bacon painted howling abstracted faces and crucifixes in claustrophobia-inducing settings, made all the more ominous with his discomfiting palettes. He often took inspiration from art historical forebears such as Van Gogh and Velázquez, translating their dramatic compositions for the chaotic modern age. Bacon’s own violent relationships served as a darker, more personal reference point. Beginning in his mid-thirties, Bacon received considerable acclaim and exhibited regularly in New York, Paris, London, Berlin, and Moscow, among other cities. His work belongs in the collections of the Tate, the Museum of Modern Art, the Centre Pompidou, and the Stedelijk Museum, among others

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  • Francis Bacon, Study Of A Human Body After Ingres, 1984
    Francis Bacon
    Study Of A Human Body After Ingres, 1984
    Original Lithograph in colours on Arches watermarked paper, with full margins,
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  • Francis Bacon, Triptych 1986:1987, 1986
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  • Francis Bacon, Three Studies of Male Back (One Work - night hand panel of the triptych), 1987
    Francis Bacon
    Three Studies of Male Back (One Work - night hand panel of the triptych), 1987
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  • Francis Bacon, Triptych Inspired by Oresteia of Aeschylus, 1981
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    Triptych Inspired by Oresteia of Aeschylus, 1981
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