Crucifixion is a 1965 triptych painted by the Irish-born artist Francis Bacon. Across each of the three panels, the work shows three forms of violent death.
This triptych was the third such which Bacon painted relating to the Crucifixion, and follows 1944's Three Studies for Figures at the Base of a Crucifixion, and the Three Studies for a Crucifixion of 1962. For Bacon, images of the crucifixion were "a magnificent armature on which you can [work] about your own feelings and sensations... You are working on all sorts of very private feelings about behaviour and the way life is".[1]
The 1965 work closely follows the 1962 triptych in mood, colour and form and continues the artist's preoccupation with the imagery of the slaughterhouse.[2] However, whereas the earlier work had an urgency and sense of struggle, the 1965 crucifixion shows defeated and butchered figures splayed on beds and hanging upside down on hooks. In the left-hand panel, a human carcass is shown lying on the bed. The figure is covered in splintlike bandages which, according to the art critic Hugh Davies, suggest "the frilly parer collars used by butchers to dress up joints of meat".[2]
In the central panel, a half-human, half-animal hybrid figure is hung upside down from an angled scaffold structure. On the right-hand canvas, two men are shown watching the scene. They have been described by Davies as possibly being intended as "tormentors, witnesses, or fellow victims".[3]
"I've always been very moved by pictures about slaughterhouses and meat, and to me that belong very much to the whole thing of the Crucifixion. There've been extraordinary photographs which have been done of animals just being taken up before they were slaughtered; and the smell of death. We don't know, of course, but it appears by these photographs that they're so aware of what is going to happen to them, they do everything to attempt to escape. I think these pictures were very much based on that kind of thing, which to me is very, very near this whole thing of the Crucifixion. I know for religious people, for Christians, the Crucifixion has a totally different significance. But as a non-believer, it was just an act of man's behaviour to another".
Francis Bacon was an Irish-born British figurative painter known for his raw, unsettling imagery. Focusing on the human form, his subjects included crucifixions, portraits of popes, self-portraits, and portraits of close friends, with abstracted figures sometimes isolated in geometrical structures. Rejecting various classifications of his work, Bacon said he strove to render "the brutality of fact." He built up a reputation as one of the giants of contemporary art with his unique style.
Three Studies for Figures at the Base of a Crucifixion is a 1944 triptych painted by the Irish-born British artist Francis Bacon. The canvasses are based on the Eumenides—or Furies—of Aeschylus's Oresteia, and depict three writhing anthropomorphic creatures set against a flat burnt orange background. It was executed in oil paint and pastel on Sundeala fibre board and completed within two weeks. The triptych summarises themes explored in Bacon's previous work, including his examination of Picasso's biomorphs and his interpretations of the Crucifixion and the Greek Furies. Bacon did not realise his original intention to paint a large crucifixion scene and place the figures at the foot of the cross.
Triptych, May–June 1973 is a triptych completed in 1973 by the Irish-born artist Francis Bacon (1909–1992). The oil-on-canvas was painted in memory of Bacon's lover George Dyer, who committed suicide on the eve of the artist's retrospective at Paris's Grand Palais on 24 October 1971. The triptych is a portrait of the moments before Dyer's death from an overdose of pills in their hotel room. Bacon was haunted and preoccupied by Dyer's loss for the remaining years of his life and painted many works based on both the actual suicide and the events of its aftermath. He admitted to friends that he never fully recovered, describing the 1973 triptych as an exorcism of his feelings of loss and guilt.
Study after Velázquez's Portrait of Pope Innocent X is a 1953 painting by the artist Francis Bacon. The work shows a distorted version of the Portrait of Innocent X painted by Spanish artist Diego Velázquez in 1650. The work is one of the first in a series of around 50 variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s. The paintings are widely regarded as highly successful modern re-interpretations of a classic of the Western canon of visual art.
Fragment of a Crucifixion is an unfinished 1950 painting by the Irish-born figurative painter Francis Bacon. It shows two animals engaged in an existential struggle; the upper figure, which may be a dog or a cat, crouches over a chimera and is at the point of kill. It stoops on the horizontal beam of a T-shaped structure, which may signify Christ's cross. The painting contains thinly sketched passer-by figures, who appear as if oblivious to the central drama.
Study for a Self-Portrait—Triptych, 1985–86 is a triptych painted between 1985 and 1986 by the Irish-born English artist Francis Bacon. It is a brutally honest examination of the effect of age and time on the human body and spirit and was painted in the aftermath of the deaths of many of his close friends. It is Bacon's only full-length self-portrait, and was described by art critic David Sylvester as "grand, stark, ascetic".
The Irish-born artist Francis Bacon (1909–1992) painted 28 known triptychs between 1944 and 1986. He began to work in the format in the mid-1940s with a number of smaller formats before graduating in 1962 to large examples. He followed the larger style for 30 years, although he painted a number of smaller triptychs of friend's heads, and after the death of his former lover George Dyer in 1971, the three Black Triptychs.
The Black Triptychs are a series of three triptychs painted by the British artist Francis Bacon between 1972 and 1974. Bacon admitted that they were created as an exorcism of his sense of loss following the suicide of his former lover and principal model, George Dyer. On the evening of 24 October 1971, two days before the opening of Bacon's career-making retrospective at the Grand Palais, Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, committed suicide through an overdose of drink and barbiturates in a room at the Paris hotel Bacon had allowed him to share during a brief period of reconciliation following years of bitter recrimination.
Three Studies of Lucian Freud is a 1969 oil-on-canvas triptych by the Irish-born British painter Francis Bacon, depicting artist Lucian Freud. It was sold in November 2013 for US$142.4 million, which at the time was the highest price attained at auction for a work of art when not factoring in inflation. That record was surpassed in May 2015 by Version O of Picasso's Les Femmes d'Alger series.
Head VI is an oil-on-canvas painting by Irish-born figurative artist Francis Bacon, the last of six panels making up his "1949 Head" series. It shows a bust view of a single figure, modeled on Diego Velázquez's Portrait of Innocent X. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void. But with an inverted pathos is derived from the ambiguity of the pope's horrifying expression—whose distorted face either screams of untethered hatred towards the viewer or pleads for help from the glass cage—the question of what he is screaming about is left to the audience.
Triptych–August 1972 is a large oil-on-canvas triptych by the British artist Francis Bacon (1909–1992). It was painted in memory of Bacon's lover George Dyer who committed suicide on 24 October 1971, the eve of the artist's retrospective at Paris's Grand Palais, then the highest honour Bacon had received.
Head I is a relatively small oil and tempera on hardboard painting by the Irish-born British figurative artist Francis Bacon. Completed in 1948, it is the first in a series of six heads, the remainder of which were painted the following year in preparation for a November 1949 exhibition at the Hanover Gallery in London. Like the others in the series, it shows a screaming figure alone in a room, and focuses on the open mouth. The work shows a skull which has disintegrated on itself and is largely a formless blob of flesh. The entire upper half has disappeared, leaving only the jaw, mouth and teeth and one ear still intact. It is the first of Bacon's paintings to feature gold background railings or bars; later to become a prominent feature of his 1950s work, especially in the papal portraits where they would often appear as enclosing or cages around the figures. It is not known what influences were behind the image; most likely they were multiple – press or war photography, and critic Denis Farr detects the influence of Matthias Grünewald.
Three Figures in a Room is a 1964 oil-on-canvas triptych painting by British artist Francis Bacon. Each panel measures 198 × 147 centimetres (78 × 58 in) and shows a separate view of his lover George Dyer, whom Bacon first met in 1963. It is the first of Bacon's works to feature Dyer, a model to whom he returned repeatedly in his paintings. The work has been described as Bacon's first secular triptych.
Three Studies for a Portrait of Henrietta Moraes is an oil-on-canvas 1963 triptych by the Irish-born British figurative painter Francis Bacon. It is one of a series of portraits he painted of his friends, at a time when his art was becoming more personal. Henrietta Moraes (1933–1999) was a close friend and drinking companion of Bacon's from the early 1960s, and became one of his favourite models. She never posed in person for him; instead he worked either from memory, or more often from photographs commissioned from his friend John Deakin.
Three Studies for a Crucifixion is a 1962 triptych oil painting by Francis Bacon. It was completed in March 1962 and comprises three separate canvases, each measuring 198.1 by 144.8 centimetres. The work is held by the Solomon R. Guggenheim Museum in New York.
Head III is an oil painting by Francis Bacon, one of series of works made in 1949 for his first one-man exhibition at the Hanover Gallery, in London. As with the other six paintings in the series, it focuses on the disembodied head of male figure, who looks out with a penetrating gaze, but is fixed against an isolating, flat, nondescript background, while also enfolded by hazy horizontal foreground curtain-like folds which seems to function like a surrounding cage.
Version No. 2 of Lying Figure with Hypodermic Syringe is a 1968 oil-on-canvas painting by the Irish-born, English artist Francis Bacon. It is the second of two similarly titled paintings based on nude photographs of his close friend Henrietta Moraes, who is shown in a reclining position on a bed, themselves part of a wider series of collapsed figures on beds that began with the 1963 triptych Lying Figure. This later version is widely considered the more successful of the two panels.
Three Studies for a portrait of Muriel Belcher is an oil-on-canvas triptych painting by the Irish born English artist Francis Bacon, completed in 1966. It portrays Muriel Belcher, described by musician George Melly as a "benevolent witch", and the charismatic founder and proprietress of The Colony Room Club, a private drinking house at 41 Dean Street, Soho, London, where Bacon was a regular throughout the late 1940s to late 1960s. The two became friends soon after she opened the club in 1948, and Bacon helped her cultivate its reputation as a seedy but convivial meeting place for artists, writers, musicians, homosexuals and bohemians. At its height, regular patrons included Lucian Freud, Jeffrey Bernard, John Deakin and Henrietta Moraes.
Three Studies for a Self-Portrait is an oil-on-canvas triptych painting by the Irish-born English artist Francis Bacon. Two of paintings are signed and dated 1979, and the third signed and dated 1979–1980. The work can be viewed as a penetrating self-examinations undertaken in the aftermath of the suicide of his lover George Dyer, and as one of a series of inward looking self-portraits completed during the 1970s. Bacon was seventy at the time, but appears as ageless.
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