Francis BACON (1909-1992)
See also : Top 10 Bacon < 1963 Bacon 1963-70 Later Bacons Painting The Man Nude Animals Bird
Chronology : 20th century 1952 1960-1969 1962 1963 1964 1966 1969 1970-1979 1976 1977 1980-1989 1981 1984
Chronology : 20th century 1952 1960-1969 1962 1963 1964 1966 1969 1970-1979 1976 1977 1980-1989 1981 1984
1952 Study for a Nightmare
2019 SOLD for $ 50M including premium
Francis Bacon used to destroy his own works as soon as they did not suit him anymore. Almost everything has gone. An oil on linen simply titled and dated Painting 1946 survived because it was bought very early by the gallerist Erica Brausen for Graham Sutherland.
Painting 1946 is a surrealist work. The artist originally wanted to stage a chimpanzee because visitors like to recognize themselves in a painting as in their own mirror. The monkey turned into a bird of prey and then into a foul creature encircled behind a barrier like in a museum.
The success of Painting 1946 led in 1949 to the project of a series of six Heads, also supported by Brausen. With an increasing intensity from I to VI, Bacon frees two of his major obsessions, the snapshot of death symbolized by the scream of the old woman in Battleship Potemkin, and the vanity of power symbolized by Velazquez's Innocent X.
For many years Bacon paints studies associating the same hallucinations. An impotent pope is trapped on his throne as in a cage. The resemblance to the Eisenstein film scene is reinforced by the broken nose-clip in front of the swollen eye. He no longer needs a monkey to offer to the viewer the mirror of his horror.
On May 16 in New York, Sotheby's sells Study for a Head, oil and sand on canvas 66 x 56 cm painted in 1952, lot 9 estimated $ 20M. This nightmare is heavily inspired by the character of the Potemkin. The pontifical inspiration is not obvious in this specific opus.
Painting 1946 is a surrealist work. The artist originally wanted to stage a chimpanzee because visitors like to recognize themselves in a painting as in their own mirror. The monkey turned into a bird of prey and then into a foul creature encircled behind a barrier like in a museum.
The success of Painting 1946 led in 1949 to the project of a series of six Heads, also supported by Brausen. With an increasing intensity from I to VI, Bacon frees two of his major obsessions, the snapshot of death symbolized by the scream of the old woman in Battleship Potemkin, and the vanity of power symbolized by Velazquez's Innocent X.
For many years Bacon paints studies associating the same hallucinations. An impotent pope is trapped on his throne as in a cage. The resemblance to the Eisenstein film scene is reinforced by the broken nose-clip in front of the swollen eye. He no longer needs a monkey to offer to the viewer the mirror of his horror.
On May 16 in New York, Sotheby's sells Study for a Head, oil and sand on canvas 66 x 56 cm painted in 1952, lot 9 estimated $ 20M. This nightmare is heavily inspired by the character of the Potemkin. The pontifical inspiration is not obvious in this specific opus.
1962 Study from Innocent X by Bacon
2007 SOLD for $ 53M including premium by Sotheby's
narrated in 2020
Criticism of religion is an inspiration for Francis Bacon. In 1944 he mixed Christianity with the horrors of war in Three Studies for Figures at the Base of a Crucifixion, which he considered as his first completed work. This image assured him a scandalous success. To feed art rather than controversy, he then opted for a socially less destructive amalgam between the Portrait of Pope Innocent X by Velazquez and the scream from Eisenstein's Potemkin.
During the 1950s Francis retains from Innocent X the psychosis of a human being who has been given a preeminent role far beyond his abilities. His screaming Popes from that time, in bust or half-length on a dark background, are irremediably locked on their thrones.
Around 1960 his desires change. It is the good life in Soho. He interprets the ugliness of his friends through the photos by John Deakin. His Popes are becoming rarer.
Francis only knew Velazquez's Innocent X from chromos, but he appreciates that the color palette contributes greatly to the psychological effect. Seated Figure, oil on canvas 153 x 119 cm painted in 1960, is more directly inspired by Velazquez for the petrified position of the character and for its new dominant red. It was sold for $ 45M including premium by Christie's on November 12, 2014.
An oil on canvas 198 x 142 cm painted in 1962 is even more explicit. The title, Study from Innocent X, even lost the ambiguity that Francis loved so much. The composition is enlarged compared to Velazquez and to Seated Figure, staging the whole scene in an empty room. The curled-up man is locked with his seat in the filiform cage that Francis used to display humans to monkeys.
Study from Innocent X was sold for $ 53M including premium by Sotheby's on May 15, 2007, lot 22.
During the 1950s Francis retains from Innocent X the psychosis of a human being who has been given a preeminent role far beyond his abilities. His screaming Popes from that time, in bust or half-length on a dark background, are irremediably locked on their thrones.
Around 1960 his desires change. It is the good life in Soho. He interprets the ugliness of his friends through the photos by John Deakin. His Popes are becoming rarer.
Francis only knew Velazquez's Innocent X from chromos, but he appreciates that the color palette contributes greatly to the psychological effect. Seated Figure, oil on canvas 153 x 119 cm painted in 1960, is more directly inspired by Velazquez for the petrified position of the character and for its new dominant red. It was sold for $ 45M including premium by Christie's on November 12, 2014.
An oil on canvas 198 x 142 cm painted in 1962 is even more explicit. The title, Study from Innocent X, even lost the ambiguity that Francis loved so much. The composition is enlarged compared to Velazquez and to Seated Figure, staging the whole scene in an empty room. The curled-up man is locked with his seat in the filiform cage that Francis used to display humans to monkeys.
Study from Innocent X was sold for $ 53M including premium by Sotheby's on May 15, 2007, lot 22.
1963 Sir George and the Petty Thief
2017 SOLD for $ 52M including premium
At the turn of the 1960s the art world is demanding changes. Abstraction has taken up too much space and cancels the psychological observation. Francis Bacon then enjoys the top level of fame to such an extent that his sado-masochistic impulses are reversed : after Peter Lacy's death, Francis desires to dominate a young male muse.
George Dyer meets perfectly this new need. His powerful body evokes the masculine nudes sculpted by Michelangelo. His shabby life as a petty thief innocent of art excites Francis who creates the unverifiable story of their first encounter in 1963 during a burglary in his studio. Francis sometimes nicknames 'Sir George' this magnificent lover.
George has a weak personality that he vainly tries to offset by tobacco, drugs and alcohol. The colossus with feet of clay becomes for Francis a subject of study of the human contradictions. As ever Francis seeks through his models the mirror of his own complexity.
Francis grabs his brushes to deepen this new quest. He likes the series on a homogeneous background for their possibility of varying the expression. His very first study for a portrait of George is a triptych of 35 x 30 cm elements displaying the head in life size, painted in 1963.
Francis twists nose and cheeks and adds vivid colors to better reveal the tensions but the overall features remain perfectly superimposable to the photographs of George. On a black background and with no information on the garment, this triple head that comes out of the shadows with an empty gaze is one of the most profound testimonies by Bacon on the psychological misery.
This triptych is sold by Christie's in New York on May 17, lot 38 B in the post-war and contemporary art evening sale. This lot is the subject of a special publication in 134 pages with an introduction by Brett Gorvy. The February 24 press release announces an estimate between $ 50M and $ 70M. Please watch the video shared by Christie's.
George Dyer meets perfectly this new need. His powerful body evokes the masculine nudes sculpted by Michelangelo. His shabby life as a petty thief innocent of art excites Francis who creates the unverifiable story of their first encounter in 1963 during a burglary in his studio. Francis sometimes nicknames 'Sir George' this magnificent lover.
George has a weak personality that he vainly tries to offset by tobacco, drugs and alcohol. The colossus with feet of clay becomes for Francis a subject of study of the human contradictions. As ever Francis seeks through his models the mirror of his own complexity.
Francis grabs his brushes to deepen this new quest. He likes the series on a homogeneous background for their possibility of varying the expression. His very first study for a portrait of George is a triptych of 35 x 30 cm elements displaying the head in life size, painted in 1963.
Francis twists nose and cheeks and adds vivid colors to better reveal the tensions but the overall features remain perfectly superimposable to the photographs of George. On a black background and with no information on the garment, this triple head that comes out of the shadows with an empty gaze is one of the most profound testimonies by Bacon on the psychological misery.
This triptych is sold by Christie's in New York on May 17, lot 38 B in the post-war and contemporary art evening sale. This lot is the subject of a special publication in 134 pages with an introduction by Brett Gorvy. The February 24 press release announces an estimate between $ 50M and $ 70M. Please watch the video shared by Christie's.
1964 Study for Portrait of Lucian Freud
2022 SOLD for £ 43M by Sotheby's
In and around Soho's pubs and clubs, eccentric people tried to have a life of pleasures. They included poets, writers, musicians and of course artists led by Francis Bacon, Lucian Freud and Frank Auerbach. John Deakin was their portrait photographer from inside the gang.
Francis did not accept other people when he was working, until a very late exception for John Edwards. Desiring to reveal the tortuous psyche of his fellows, he relied on Deakin's photos.
Lucian could not escape to be included in that weird pantheon. Study for Portrait of Lucian Freud, oil on canvas 198 x 148 cm painted in 1964, was sold for £ 43M by Sotheby's on June 29, 2022, lot 10. This artwork was originally the central part of a large triptych broken after a traveling exhibition in 1965 and went out of view afterward. The side panels are still extant.
The model is a photo by Deakin featuring Lucian seated on a bed, the arms outstretched behind him with both fists on the blanket.
On Francis's picture, the bed is replaced by a green bench, the most chilly color that Francis could find for expressing his deep aversion for his friends, often used in period around the distorted figures of Henrietta, Muriel and the late Peter.
There is a sharp contrast between the rotten head in thick green, pink and white and the realistic drawing of the rest of the body. The sleeves are rolled up over the elbows. Francis opened the shirt over Lucian's nude chest, increasing the impression of his friend as a brawler as he was in real life.
On February 10, 2011, Sotheby's sold for £23M a small triptych portrait of Lucian Freud by Bacon, 35 cm high, also painted in 1964.
Francis Bacon went deep into the artistic study of confusion between human beings. Indeed Picasso did it before him, drawing in a single face the lines of loved women. When he mixes himself with one of his companions, Francis reaches an extreme level of questioning the mankind.
On June 27, 2012, Christie's sold for £ 21.5M a Study for a self-portrait painted in 1964 by Francis Bacon, 152 x 140 cm, lot 25. A man sits in an empty room. The analysis of this painting by the auction house shows that the head, very distorted, belongs to Francis as suggested by the title. The rest of the body displays the more massive features of Lucian Freud, from a photograph by John Deakin. This surprising discovery is all the more plausible because 1964 was a very good year for the relations between the two artists.
Francis did not accept other people when he was working, until a very late exception for John Edwards. Desiring to reveal the tortuous psyche of his fellows, he relied on Deakin's photos.
Lucian could not escape to be included in that weird pantheon. Study for Portrait of Lucian Freud, oil on canvas 198 x 148 cm painted in 1964, was sold for £ 43M by Sotheby's on June 29, 2022, lot 10. This artwork was originally the central part of a large triptych broken after a traveling exhibition in 1965 and went out of view afterward. The side panels are still extant.
The model is a photo by Deakin featuring Lucian seated on a bed, the arms outstretched behind him with both fists on the blanket.
On Francis's picture, the bed is replaced by a green bench, the most chilly color that Francis could find for expressing his deep aversion for his friends, often used in period around the distorted figures of Henrietta, Muriel and the late Peter.
There is a sharp contrast between the rotten head in thick green, pink and white and the realistic drawing of the rest of the body. The sleeves are rolled up over the elbows. Francis opened the shirt over Lucian's nude chest, increasing the impression of his friend as a brawler as he was in real life.
On February 10, 2011, Sotheby's sold for £23M a small triptych portrait of Lucian Freud by Bacon, 35 cm high, also painted in 1964.
Francis Bacon went deep into the artistic study of confusion between human beings. Indeed Picasso did it before him, drawing in a single face the lines of loved women. When he mixes himself with one of his companions, Francis reaches an extreme level of questioning the mankind.
On June 27, 2012, Christie's sold for £ 21.5M a Study for a self-portrait painted in 1964 by Francis Bacon, 152 x 140 cm, lot 25. A man sits in an empty room. The analysis of this painting by the auction house shows that the head, very distorted, belongs to Francis as suggested by the title. The rest of the body displays the more massive features of Lucian Freud, from a photograph by John Deakin. This surprising discovery is all the more plausible because 1964 was a very good year for the relations between the two artists.
1966 Where are All his Lovers
2014 SOLD 42 M£ including premium
The sentimental history of Francis Bacon is complex. Dominated by the sadistic Peter, he himself went to be abusive to George. The relationship of Francis with alcohol is not unrelated with this apparent contradiction.
The painting of portraits in large size does not bring the impossible key to the temperament of Francis but enables to track his attempts of communication in life and beyond. He invariably used photos by John Deakin to make recognizable some personal elements of his models within the disasters of heads and bodies.
In 1962, just after the death of Peter in a drinking party, Francis painted Study for Portrait of PL, oil on canvas 198 x 145 cm. The man comfortably seated cross-legged on a sofa is discussing post-mortem while holding a glass of wine. This painting was estimated $ 30 million at Sotheby's on May 14, 2013. It has not been sold.
On February 13 in London , Christie's sells a portrait of George in nearly identical dimensions, painted in 1966 during the sitter's lifetime, lot 10 in the catalog. This painting is announced in the region of £ 30M by the press release.
The huge body of the boxer, probably naked, is writhing on a tiny stool. He communicates with a crooked mouth and an inexpressive gaze. Papers on the rug provide a link to his interlocutor. The physical strength of the body is balanced with the apparent size of the empty room looking enlarged like through a fish eye lens.
On 9 May 2012, Sotheby's sold $ 45 million including premium another portrait of George, again in the same size. Painted in 1976, five years after the suicide of his lover, this haunted image is one of the masterpieces by Francis.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
Portraits of George Dyer by Francis Bacon are highly appreciated by the fans of the artist. This one was sold for £ 42M including premium.
The painting of portraits in large size does not bring the impossible key to the temperament of Francis but enables to track his attempts of communication in life and beyond. He invariably used photos by John Deakin to make recognizable some personal elements of his models within the disasters of heads and bodies.
In 1962, just after the death of Peter in a drinking party, Francis painted Study for Portrait of PL, oil on canvas 198 x 145 cm. The man comfortably seated cross-legged on a sofa is discussing post-mortem while holding a glass of wine. This painting was estimated $ 30 million at Sotheby's on May 14, 2013. It has not been sold.
On February 13 in London , Christie's sells a portrait of George in nearly identical dimensions, painted in 1966 during the sitter's lifetime, lot 10 in the catalog. This painting is announced in the region of £ 30M by the press release.
The huge body of the boxer, probably naked, is writhing on a tiny stool. He communicates with a crooked mouth and an inexpressive gaze. Papers on the rug provide a link to his interlocutor. The physical strength of the body is balanced with the apparent size of the empty room looking enlarged like through a fish eye lens.
On 9 May 2012, Sotheby's sold $ 45 million including premium another portrait of George, again in the same size. Painted in 1976, five years after the suicide of his lover, this haunted image is one of the masterpieces by Francis.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
Portraits of George Dyer by Francis Bacon are highly appreciated by the fans of the artist. This one was sold for £ 42M including premium.
1969 How Bacon caught Freud
2013 SOLD 142 M$ including premium
As early as 1944, the triptych is the favorite medium of Bacon. The three perspectives cancel the plane of the canvas to provide to the viewer the mental illusion of a three-dimensional space.
Heads in small sizes often come to auction, but larger works are exceptional. On November 12 in New York, Christie's sells Three Studies of Lucian Freud, three oils on canvas painted in 1969, 198 x 148 cm for each element.
The two artists have been friends for nearly a quarter of century. Francis is in his George Dyer period and his appeal to Lucian has no reason to be erotic. Always looking for a total empathy with his entourage, Bacon pays tribute to a rival whom he admires. The seating position is gentle, but the colors and deformities of the face express the passions, in front of a strident yellow background.
Bacon locked Freud in a threadlike prism, similar to a squaring but proving his intent of the three-dimensional nature of the triptych. This desire to control his friend is fictional and symbolic because Bacon, as almost every time, worked this triple portrait from photos made by John Deakin.
Christie's does not indicate an estimate but compares the importance of this work with the triptych of the same size sold for $ 86M including premium by Sotheby's on 14 May 2008. Painted in 1976, this work is more symbolic but also less three-dimensional due to the decomposition of the body in the central picture.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The auction sale of this triptych was an important event that Christie's has successfully managed : sold for $ 142M including premium.
The low resolution image below is shared by Wikimedia for fair use :
Heads in small sizes often come to auction, but larger works are exceptional. On November 12 in New York, Christie's sells Three Studies of Lucian Freud, three oils on canvas painted in 1969, 198 x 148 cm for each element.
The two artists have been friends for nearly a quarter of century. Francis is in his George Dyer period and his appeal to Lucian has no reason to be erotic. Always looking for a total empathy with his entourage, Bacon pays tribute to a rival whom he admires. The seating position is gentle, but the colors and deformities of the face express the passions, in front of a strident yellow background.
Bacon locked Freud in a threadlike prism, similar to a squaring but proving his intent of the three-dimensional nature of the triptych. This desire to control his friend is fictional and symbolic because Bacon, as almost every time, worked this triple portrait from photos made by John Deakin.
Christie's does not indicate an estimate but compares the importance of this work with the triptych of the same size sold for $ 86M including premium by Sotheby's on 14 May 2008. Painted in 1976, this work is more symbolic but also less three-dimensional due to the decomposition of the body in the central picture.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The auction sale of this triptych was an important event that Christie's has successfully managed : sold for $ 142M including premium.
The low resolution image below is shared by Wikimedia for fair use :
1976 Large Triptych by Bacon
2008 SOLD for $ 86M including premium by Sotheby's
narrated in 2020
In 1976 Francis Bacon prepares an exhibition of new works at the Galerie Claude Bernard in Paris. The highlight is a triptych in oil and pastel on canvas, 198 x 148 cm for each element. It was sold for $ 86M including premium by Sotheby's on May 14, 2008, lot 33.
This triptych brings together a synthesis of Francis' career, as Picasso had done twenty years earlier with his series of Les Femmes d'Alger.
Five years after the suicide of George Dyer, Francis confirms that the major inspirations of his art and of his life are suffering, guilt and punishment. The main figure in the central panel is a headless Prometheus tortured by the eagle, in a composition similar to 'Painting 1946'. Other symbols on this panel include the Furies disguised as pelicans and a chalice dripping with blood.
In the 1930s and 1940s, the young artist was gradually destroying his own work. This phase of creative dissatisfaction ended after the revelation to him of the two most tragic characters in the Greek theater, Prometheus and Orestes by Aeschylus.
The very first work he considered completed, Three Studies for Figures at the Base of a Crucifixion, in 1944, a triptych of elements 94 x 74 cm, is an interpretation of the mourners inspired by the Furies of Orestes. 'Painting 1946', 198 x 132 cm, was commented by Bacon : he had started painting a figure of a monkey, the alter ego of mankind, when the punishing eagle arrived in his subconscious.
The triptychs of 198 x 148 cm panels are the format chosen by Bacon in his later career for works he manages to be the most achieved. Three Studies of Lucian Freud, painted in 1969, was sold for $ 142M including premium by Christie's on November 12, 2013. Three Studies for a Portrait of John Edwards, painted in 1984, was sold for $ 81M including premium by Christie's on 13 May 2014. The sale of Triptych inspired by the Oresteia of Aeschylus, painted in 1981, was sold for $ 85M including premium by Sotheby's on June 29, 2020.
This triptych brings together a synthesis of Francis' career, as Picasso had done twenty years earlier with his series of Les Femmes d'Alger.
Five years after the suicide of George Dyer, Francis confirms that the major inspirations of his art and of his life are suffering, guilt and punishment. The main figure in the central panel is a headless Prometheus tortured by the eagle, in a composition similar to 'Painting 1946'. Other symbols on this panel include the Furies disguised as pelicans and a chalice dripping with blood.
In the 1930s and 1940s, the young artist was gradually destroying his own work. This phase of creative dissatisfaction ended after the revelation to him of the two most tragic characters in the Greek theater, Prometheus and Orestes by Aeschylus.
The very first work he considered completed, Three Studies for Figures at the Base of a Crucifixion, in 1944, a triptych of elements 94 x 74 cm, is an interpretation of the mourners inspired by the Furies of Orestes. 'Painting 1946', 198 x 132 cm, was commented by Bacon : he had started painting a figure of a monkey, the alter ego of mankind, when the punishing eagle arrived in his subconscious.
The triptychs of 198 x 148 cm panels are the format chosen by Bacon in his later career for works he manages to be the most achieved. Three Studies of Lucian Freud, painted in 1969, was sold for $ 142M including premium by Christie's on November 12, 2013. Three Studies for a Portrait of John Edwards, painted in 1984, was sold for $ 81M including premium by Christie's on 13 May 2014. The sale of Triptych inspired by the Oresteia of Aeschylus, painted in 1981, was sold for $ 85M including premium by Sotheby's on June 29, 2020.
1977 The Cult of Everlasting Youth
2018 SOLD for $ 50M including premium
The life of Francis Bacon is dominated and ruined by his existential questioning, but that is why he is one of the most disturbing artists of his time.
In an early phase Francis paints horrible old popes, idols in decay. When George becomes his symbol of handsome youth, he confronts him with himself and the pope. George's death reveals a posteriori to Francis that this young man of whom he had fun had indeed an existence. There is no doubt that Francis's mourning was terrible, deep and lasting.
Despite his ego Francis cannot stop the time. From 1976 he enters a process of re-interesting in old friends including Henrietta but he does not know how to accept and endure the aging of his own body.
On May 17 in New York, Christie's sells as lot 7 B Study for Portrait, oil on canvas 198 x 148 cm painted in 1977.
Francis had then ended his mourning : George is no longer a ghost but the idol of everlasting youth, sitting in underwear from the model of a photo taken in the first phase of their affair by John Deakin. His face is recognizable.
On a lilac surface in front of the idol, a dark form appears, ended by an accumulation of blood. It cannot be George's shadow because it is not consistent with any light. It is a flat selfie figure of Francis in his body that becomes disgusting. This identification is confirmed by the waste that surrounds it, marked by letters in dry transfer, which symbolizes the fabulous rubble in the artist's studio.
In an early phase Francis paints horrible old popes, idols in decay. When George becomes his symbol of handsome youth, he confronts him with himself and the pope. George's death reveals a posteriori to Francis that this young man of whom he had fun had indeed an existence. There is no doubt that Francis's mourning was terrible, deep and lasting.
Despite his ego Francis cannot stop the time. From 1976 he enters a process of re-interesting in old friends including Henrietta but he does not know how to accept and endure the aging of his own body.
On May 17 in New York, Christie's sells as lot 7 B Study for Portrait, oil on canvas 198 x 148 cm painted in 1977.
Francis had then ended his mourning : George is no longer a ghost but the idol of everlasting youth, sitting in underwear from the model of a photo taken in the first phase of their affair by John Deakin. His face is recognizable.
On a lilac surface in front of the idol, a dark form appears, ended by an accumulation of blood. It cannot be George's shadow because it is not consistent with any light. It is a flat selfie figure of Francis in his body that becomes disgusting. This identification is confirmed by the waste that surrounds it, marked by letters in dry transfer, which symbolizes the fabulous rubble in the artist's studio.
1981 Everlasting Modernity of Aeschylus
2020 SOLD for $ 85M including premium
Francis Bacon has long sought his way to illustrate human weaknesses and suffering. The major influence on his art is the Oresteia by Aeschylus. When he discovers this trilogy, he stops destroying his own productions. It is certainly no coincidence that his seminal work, made in 1944 at the age of 35, is a triptych.
This painting is titled Three Studies for Figures at the Base of a Crucifixion. As a challenge against Christianity, he does not display the Passion but pictures of the Furies who forever pursue their vengeance on the guilty Orestes.
In 1962 Bacon begins using a new format for his completed works : the triptych of oils on canvas sized 198 x 148 cm for each element. He will make 28 of them. Aeschylus continues to haunt him. A triptych painted in 1976 featuring in the central panel Prometheus devoured by the eagle in the presence of the Furies was sold for $ 86M including premium by Sotheby's on May 14, 2008.
On June 29 in New York, Sotheby's sells Triptych inspired by the Oresteia of Aeschylus, painted in 1981, lot 105 estimated $ 60M. Please watch the First Look video and the Expert Voices video shared by the auction house.
Unlike the Prometheus in the example above, the artist avoids any narrative aspect in his Oresteia to better focus on the sensations. The main figure of each of the three elements is made up of contorted nudity fragments. Homosexual, sado-masochist and atheist, Francis Bacon proclaims his difference by taking Aeschylus as a reference for interpreting the human passions and the impossibility of escaping the Furies of destiny.
This painting is titled Three Studies for Figures at the Base of a Crucifixion. As a challenge against Christianity, he does not display the Passion but pictures of the Furies who forever pursue their vengeance on the guilty Orestes.
In 1962 Bacon begins using a new format for his completed works : the triptych of oils on canvas sized 198 x 148 cm for each element. He will make 28 of them. Aeschylus continues to haunt him. A triptych painted in 1976 featuring in the central panel Prometheus devoured by the eagle in the presence of the Furies was sold for $ 86M including premium by Sotheby's on May 14, 2008.
On June 29 in New York, Sotheby's sells Triptych inspired by the Oresteia of Aeschylus, painted in 1981, lot 105 estimated $ 60M. Please watch the First Look video and the Expert Voices video shared by the auction house.
Unlike the Prometheus in the example above, the artist avoids any narrative aspect in his Oresteia to better focus on the sensations. The main figure of each of the three elements is made up of contorted nudity fragments. Homosexual, sado-masochist and atheist, Francis Bacon proclaims his difference by taking Aeschylus as a reference for interpreting the human passions and the impossibility of escaping the Furies of destiny.
1984 Bacon reached by Serenity
2014 SOLD 81 M$ including premium
In 1974, after a missed visit to his London pub, John Edwards invectives Bacon. Francis enjoyed the strong personalities and was no more used of being opposed. They become friends, to the point that John is accepted in the studio while Francis is painting.
The years that followed their first meeting are still psychologically difficult for Francis, haunted by the ghost of George Dyer and by the aging of his own body. When he paints the portrait of John in 1984, the 75 years old artist is now sensitive to serenity.
His technique is a continuous reuse of formats and compositions. The large size triptych of John, 198 x 148 cm for each element, is comparable in almost all its features to the triptych of Lucian Freud, made in 1969, which was sold for $ 142M including premium by Christie's on November 12, 2013.
John sits enclosed in a threadlike cage of which we now know that it is a tribute by Bacon to Giacometti. The large empty room with the concave wall is the arena in which the artist exhibits his model. The face, which is always the subject of the greatest attention of Francis, is made expressive by his usual range of colors, from flesh to crimson.
John was not a beauty, with his strong jaw. The originality of this artwork is that the face is realistic, peaceful and confident. Francis stated that John's triptych is one of his most successful works. It certainly means that his empathy with the model was complete. John will be the sole heir of Francis and keeper of his estate.
Three Studies for a Portrait of John Edwards is for sale by Christie's in New York on May 13. The estimate beyond $ 75M was announced by the auction house during an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
Great result for the triptych, sold for $ 81M including premium.
The years that followed their first meeting are still psychologically difficult for Francis, haunted by the ghost of George Dyer and by the aging of his own body. When he paints the portrait of John in 1984, the 75 years old artist is now sensitive to serenity.
His technique is a continuous reuse of formats and compositions. The large size triptych of John, 198 x 148 cm for each element, is comparable in almost all its features to the triptych of Lucian Freud, made in 1969, which was sold for $ 142M including premium by Christie's on November 12, 2013.
John sits enclosed in a threadlike cage of which we now know that it is a tribute by Bacon to Giacometti. The large empty room with the concave wall is the arena in which the artist exhibits his model. The face, which is always the subject of the greatest attention of Francis, is made expressive by his usual range of colors, from flesh to crimson.
John was not a beauty, with his strong jaw. The originality of this artwork is that the face is realistic, peaceful and confident. Francis stated that John's triptych is one of his most successful works. It certainly means that his empathy with the model was complete. John will be the sole heir of Francis and keeper of his estate.
Three Studies for a Portrait of John Edwards is for sale by Christie's in New York on May 13. The estimate beyond $ 75M was announced by the auction house during an interview with the Wall Street Journal.
I invite you to play the video shared by Christie's to introduce this lot.
POST SALE COMMENT
Great result for the triptych, sold for $ 81M including premium.
