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Francis Bacon, after Triptych (1974/1977), 1981

Francis Bacon

after Triptych (1974/1977), 1981
Etching and Aquatint
3 etchings and aquatints on Guarro paper.Published and printed by Poligrafa, Barcelona, on Guarro paper in 2 versions: The 3 images on a single sheet, with a single signature on the bottom right. Paper 110 x 62.5 cm, image 38.5 x 29.5 cm. 99 copies with Arabic numbering. 15 HC with Arabic numbering. 5 E.A. The 3 images on 3 seperate sheets, each sheet signed in pencil on the bottom right. Paper 65 x 50 cm, image 38.5 x 29.5 cm. 99 copies with Arabic numbering, 15 HC, 15 E.A with Arabic numbering.
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After Triptych (1974/1977) by Francis Bacon returns to the three-panel format that defined his most searching responses to grief and isolation — figures contained within sparse, constructed spaces, each panel...
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After Triptych (1974/1977) by Francis Bacon returns to the three-panel format that defined his most searching responses to grief and isolation — figures contained within sparse, constructed spaces, each panel a separate but related pressure. Produced in 1981 as an etching and aquatint in an edition of 99, the work translates the painting from the late 1970s, a decade shaped by the aftermath of George Dyer’s death.

George Dyer was a small-time East End criminal whom Bacon met in the early 1960s, reportedly after Dyer broke into his Reece Mews studio. What followed was one of the most intense and unequal relationships of Bacon's life — Dyer largely uneducated and out of place in the world Bacon inhabited, increasingly dependent on alcohol, and unable to find stable ground within a relationship that gave him little to stand on.

Dyer died by suicide in a Paris hotel bathroom on the eve of Bacon's retrospective at the Grand Palais in October 1971. The timing was devastating. The guilt and grief that followed ran through Bacon's work for the rest of the decade — most directly in the Black Triptychs of 1972–74, which depicted Dyer's final hours with a specificity that was almost forensic.

The triptych format allows Bacon to create continuous narrative with the three panels functioning as parallel images, each containing a figure within a separate but related space producing an almost vignette like series of actions occurring over the three panel structure. .

By the mid-1970s, Bacon’s figures are increasingly isolated within shallow, constructed interiors. These spaces—often defined by minimal architectural elements—act as containing devices, holding the body in place while removing any stable context. The recurring canopy or umbrella motif operates within this logic, functioning less as an object than as a form of enclosure. The figure is no longer simply distorted but appears unstable, caught between presence and collapse. The repetition across panels reinforces this, suggesting variation on a condition rather than progression through an event.

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