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Three Studies for a Self-Portrait, 1979–80, 37.5 x 31.8cm. Metropolitan Museum of Art. 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.
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.
Francis Bacon (28 October 1909 – 28 April 1992) 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.
4/5 Blockbuster show at the National Portrait Gallery overcomes Bacon’s late career lows to prove that his brutally frank portraiture can still take the breath away
Bacon uses contrasting colour pallets to change the tone and the mood of the panels; the fiery and aggressive reds of the center portrait contrast with the calmer blue-grey tones of the right hand image. [4] The triptych follows in a pattern of panels painted of close friends in a similar distorted style during the late 1960s and very early ...
Portrait of Michel Leiris (sometimes Study for Portrait of Michel Leiris) is a 1976 oil-on-canvas-panel painting by the Irish-born British artist Francis Bacon.It is the first of two portraits Bacon made of his close friend, the French surrealist writer and anthropologist Michel Leiris; [1] the second followed in 1978.
Franic Bacon, Three Studies of the Male Back, 1970. Three Studies of the Male Back is a 1970 oil-on-canvas triptych by the British painter Francis Bacon. Typical of Bacon's figurative but abstract and distorted style, it depicts male figures isolated within flat nondescript interior spaces. Each figure is a portrait of Bacon's lover George Dyer.
Bacon never painted from life, preferring to use a variety of visual source material, including photographs both found (including in movie stills, medical textbooks and 19th-century journals) and commissioned. Equally, Bacon rarely worked from commission and could portray the pope in an even less flattering light; according to art critic Arim ...