After Second Version Of The Triptych 1944 (left panel)
After Second Version Of The Triptych 1944 (left panel)
Signed Print
Francis Bacon
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Medium: Lithograph
Edition size: 60
Year: 1988
Size: H 62cm x W 46cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2010 | Bonhams Knightsbridge | United Kingdom | |||
| June 2007 | Artcurial | France | |||
| June 2006 | Christie's London | United Kingdom |
Meaning & Analysis
Created in 1988, this panel is part of a triptych by Francis Bacon named After Second Version of the Triptych 1944. The piece is a reworking of Bacon’s most widely known triptych which established his status as one of the UK’s foremost post-war painters. Towards the end of his long career, the artist would often create second versions of his major works when the originals became too fragile.
In this left panel, the first of the three writhing anthropomorphic creatures is placed left of centre and is engulfed in a blood red void. The pink flesh toned creature seemingly rests on a table and its body parts fuse and fold onto one another presenting an unfamiliar form. Dark and transparent patches seep up into the plane from below creating a dirty smoke or soot-like effect. A lightly coloured horizontal line splits the red background suggesting the creatures are in a room.
The lithograph is part of an edition size of 60. It has a disturbing and sinister atmosphere reflecting that of the original 1944 piece. However, the use of a deep red background was, according to the artist, less shocking for the viewer than the original burnt orange. Similarly, the smaller size of the creatures against the engulfing red background makes them less threatening than the original but nonetheless unsettling in their form and seclusion in the space.
Irish-born artist, Francis Bacon, has produced some of the most famous paintings in the British Contemporary canon. The 20th century maverick's visceral and emotionally charged canvases redefined figurative art. Exploring harrowing themes of trauma, sexuality, religion and violence, Bacon forces the viewer to confront the human psyche and the dark realities of human emotion. Often working from memory or his own imagination, there is a clear morphing of influences on Bacon’s work. An unusual combination of imagery is the result of his exposure to canonical artists such as Velazquez, Picasso and Rembrandt alongside his exploration of medical textbooks and photographic stills.
