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was to live for another seventeen years, he felt that his life was almost over, "and all the people I've loved are dead". His concern is reflected in the darkened flesh and background tones of his paintings from this period. His acute sense of mortality and awareness of the fragility of life were heightened by Dyer's death in Paris. In the next three years he painted many images of his former lover, including the series of three "Black
Triptychs" which have come to be seen as among his best work. A number of characteristics bind the triptychs together: the form of a monochromatically rendered doorway features centrally in all, and each is framed by flat and shallow walls. In each three Dyer is stalked by a broad shadow; which takes the form of pools of blood or flesh in the outer panels and the wings of the angel of death in the left hand and central images. In its display caption for
159:. The show was the high point of Bacon's career to date, and he was now being described as Britain's "greatest living painter". Dyer was now a desperate man, and although he was "allowed" to attend, he was well aware that he was "slipping", in every sense, out of the picture. To draw Bacon's attention he earlier planted cannabis in Bacon's flat, then phoned the police, and he had attempted suicide on a number of occasions. Dyer committed suicide, via an overdose of barbiturates, on the eve of the Paris exhibition in their shared hotel room. Bacon spent the following day surrounded by people eager to meet him. In mid-evening he was informed that Dyer had taken an overdose of
168:. Bacon spent the remainder of his stay in Paris attending to promotional activities and funeral arrangements. He returned to London later that week to comfort Dyer's family. The funeral proved to be an emotional affair for all, and many of Dyer's friends, including hardened East-End criminals, broke down in tears. As the coffin was lowered into the grave one attendant screamed "you bloody fool!". Although Bacon remained stoic throughout, in the following months Dyer preoccupied his imagination as never before. To confront his loss, he painted a number of tributes on small canvasses and his three "Black Triptych" masterpieces.
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told David
Sylvester that he intended his "hard, flat, bright ground" to juxtapose with the complexity of the central images, and noted that "for this work, it can work more starkly if the background is very united and clear. I think that probably is why I have used a very clear background against which the image can articulate itself". Bacon usually applied paint to the background quickly, and with "great energy"; however, he thought of it as a secondary element. He used its colour to establish tone, but in his mind the real work began when he came to paint the figures.
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it, and that although "it's just around the corner for , I don't think about it, because there's nothing to think about. When it comes, it's there. You've had it." Reflecting on the loss of Dyer, Bacon observed that as part of aging, "life becomes more of a desert around you". He told Bragg that he believed in "nothing. We are born and we die and that's it. There is nothing else." Bragg asked Bacon what he did about that reality, and after the artist told him he did nothing about it, Bragg pleaded, "No
Francis, you try and paint it."
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street half-conscious. Bacon was attracted to Dyer's vulnerability and trusting nature. Dyer was impressed by Bacon's self-confidence and his artistic success, and Bacon acted as a protector and father figure to the insecure younger man. Dyer was, like Bacon, a borderline alcoholic and similarly took obsessive care with his appearance. Pale-faced and a chain-smoker, Dyer typically confronted his daily hangovers by drinking again. His compact and athletic build belied a docile and inwardly tortured personality; the art critic
185:. The art critic Sally Yard has noted that in the portrayal of Dyer's flesh, "life seems to visibly drain ... into the substantial character of the shadow beneath him". Dyer's posture suggests he is seated on a lavatory bowl, though the object is not described. Schmied has proposed that in this frame the blackness of the background has enveloped the subject, and it "seems to be advancing forward over the threshold, threatening the viewer like a flood or a giant bat with flapping wings and extended claws."
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Tóibín they scream "Here!", "Him!". The arrow of the right panel, according to Tóibín, points to a "dead figure on the lavatory bowl, as though telling the Furies where to find him". The triptych is centralised by the lightbulb, and by the fact that Dyer faces inwards in the two outer canvasses. The triptych's composition and setting are poised to suggest instability, and the doors in each side panel are splayed outwards as if to look into the darkness of the foreground.
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three Black
Triptychs. In 1975, the curator Hugh M. Davis noted that while Bacon's earlier triptychs had been set in public spaces "open to all kinds of visitor", the Black Triptychs are set in a "deeply private realm, to which only the individual—accompanied, perhaps, by one or two of his closest friends—has access". In 1999, Yard wrote that the sense of foreboding and ill-omen conjured by the Eumenides of Bacon's
146:. Withdrawn and reserved when sober, Dyer was insuppressible when drunk, and would often attempt to "pull a Bacon" by buying large rounds and paying for expensive dinners for his wide circle. Dyer's erratic behaviour inevitably wore thin—with his cronies, with Bacon, and with Bacon's friends. Most of Bacon's art world associates regarded Dyer as a nuisance—an intrusion into the world of high culture to which
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the fact that his friends were then dying around him "like flies". A borderline alcoholic himself, Bacon continued to explain that his dead friends were "generally heavy drinkers", and that their deaths led directly to his composition of a series of meditative self-portraits which emphasised his own aging and awareness of the passage of time.
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has been said to achieve its tension by locating voluptuously described figures in an austere, cage-like space. The foreground of each panel is bounded by a wall, which runs parallel to a framing door. Each door admits a stark black into its frame, while the walls establish a link between each of the
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Francis Bacon met George Dyer in a Soho pub. According to Bacon "George was down the far end of the bar and he came over and said 'You all seem to be having a good time, can I buy you a drink?'" (Francis Bacon quoted in: Michael
Peppiat, Francis Bacon: Anatomy of an Enigma, London 2008, p. 259). From
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Bacon's work from the 1970s has been described by the art critic Hugh Davies as the "frenzied momentum of a struggle against death". Bacon admitted during a 1974 interview that he thought the most difficult aspect of aging was "losing your friends". This was a bleak period in his life, and though he
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Bacon later stated that "painting has nothing to do with colouring surfaces", and in general he was not preoccupied with detailing his backgrounds: "When I feel that I have to some extent formed the image, I put the background in to see how it's going to work and then I go with the image itself." He
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In each panel, Dyer is framed by a doorway, and set against a flat, anonymous foreground coloured with black and brown hues. In the left frame, he is seated on a toilet with his head crouched between his knees as if in pain. Although his arched back, thighs and legs are according to the Irish critic
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and
Lawrence Gowling. Yet as Dyer's novelty diminished within Bacon's circle of sophisticated intellectuals, the younger man became increasingly bitter and ill at ease. Although Dyer welcomed the attention the paintings brought him, he did not pretend to understand or even like them. "All that money
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was the nearest the artist had come to telling a story, Bacon admitted that "it is in fact the nearest I've ever done to a story, because you know that is the triptych of how was found". He went on to say that the work reflected not just his reaction to Dyer's death, but his general feelings about
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painter". He explained that he was "not trying to express anything, I wasn't trying to express the sorrow about somebody committing suicide ... but perhaps it comes through without knowing it". When Bragg inquired if he often thought about death, the artist replied that he was always aware of
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As Bacon's work moved from the extreme subject matter of his early paintings to portraits of friends in the mid-1960s, Dyer became a dominating presence in the artist's work. Bacon's treatment of his lover in these canvasses emphasises his subject's physicality while remaining uncharacteristically
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In the right panel, Dyer is shown with his eyes shut, vomiting into a hand basin. In the two outer frames his figure is shadowed by arrows, pictorial devices that Bacon often used to place a sense of energy into his paintings. In this work, the arrows point to a man about to die, and according to
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and was dead. Though devastated, Bacon continued with the retrospective and displayed powers of self-control "to which few of us could aspire", according to
Russell. Bacon was deeply affected by the loss of Dyer, and he had recently lost four other friends and his nanny. From this point on, death
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Bacon's relationships prior to Dyer had all been with older men who were as tumultuous in temperament as the artist himself, but each had been the dominating presence. Peter Lacy, his first lover, would often tear up the young artist's paintings, beat him up in drunken rages, and leave him on the
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Critics have argued whether the triptych should be read sequentially from left to right. Davies believes the work is a narrative, panoramic view of Dyer's suicide, and that the triptych's format implies a temporal continuity between each frame. Ernst van Alphen has argued that, notwithstanding
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wrote that "the horror, the abjection that oozed from the crucifixes has been transformed in his last paintings into quiet solitude. The masculine bodies entwined in a carnal embrace have given way to the solitary figure leaning over the washbasin, standing firm on the smooth ground, neutral,
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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
181:, "lovingly painted", Dyer is by now clearly a broken man. The central panel shows Dyer sitting on the toilet bowl in a more contemplative pose, his head and upper body writhing beneath a hanging lightbulb which throws a large bat-like shadow formed in the shape of a demon or
215:(1944) reappears in the triptych as a "batlike void that snared the figure of George Dyer as he subsides into the supple curves of death". John Russell observed that the painting's background describes an area which is half studio, half condemned cell. A reviewer of the 1975
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The work is stylistically more static and monumental than Bacon's earlier triptychs of Greek figures and friends' heads. It has been described as one of his "supreme achievements" and is generally viewed as his most intense and tragic canvas. Of the three
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that point on, Dyer became devoted to Bacon. He admired his intellect and power and was in awe of his self-confidence. He felt as if he had found a purpose, as the prominent artist's companion. Dyer was then about thirty years old and had grown up in the
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Throughout his career, Bacon consciously and carefully avoided explaining the meaning behind his paintings, and pointedly observed that they were not intended as narratives, nor open to interpretation. When Bragg challenged him with the observation that
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haunted his life and work. Though he gave a stoic appearance at the time, he was inwardly broken. He did not express his feelings to critics, but later admitted to friends that "daemons, disaster and loss" now stalked him as if his own version of the
303:. In these pictures Bacon strips Dyer from the context of both Dyer's own life and the artist's life, and presents him as a nameless, slumped, gathering of flesh, awaiting the onset of death. Describing the Black Triptychs in 1993, the art critic
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described him as having the air of a man who could "land a decisive punch". Their behaviours eventually overwhelmed their affair, and by 1970, Bacon was merely providing Dyer with enough money to stay more or less permanently drunk.
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spatial inconsistencies—the light bulb featured in the central panel is missing from the two outer canvasses, while the doorway view is reversed in the center panel—the triptych is a "plain representation of a story".
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displays sequential views of a single figure, and each seems to be intended to be viewed as if stills from a film. The figures rendered are not drawn from any of Bacon's usual intellectual sources; they do not depict
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Sylvester (1987), p. 129. "People have been dying around me like flies and I've had nobody else to paint but myself ... I loathe my own face, and I've done self-portraits because I've had nothing else to
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an' I fink they're reely 'orrible", he observed with choked pride. He abandoned crime but soon descended into alcoholism. Bacon's money allowed Dyer to attract hangers-on who would accompany him on massive
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in a family steeped in crime. He had spent his life drifting between theft, juvenile detention center and jail. Typical of Bacon's taste in men, Dyer was fit, masculine, and not an intellectual.
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in 1984 if the portraits painted in the wake of Dyer's death were depictions of his emotional reaction to the event, Bacon replied that he did not consider himself to be an "
229:(1514)—in the figure's pose, the bat form, and the panel's radiance—suggesting that Bacon's late triptychs evoke "memorable figural formulations" of classic Western culture.
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s art critic Sarah
Crompton wrote that "emotion seeps into each panel of this giant canvas ... the sheer power and control of Bacon's brushwork take the breath away".
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tender. More than any other of the artist's close friends portrayed during this period, Dyer came to feel inseparable from his effigies. The paintings gave him stature, a
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Bacon belonged. Dyer reacted by becoming increasingly needy and dependent. By 1971, he was drinking alone and was only in occasional contact with his former lover.
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aftermath. He admitted to friends that he never fully recovered, describing the 1973 triptych as an exorcism of his feelings of loss and guilt.
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wrote, "What death has not already consumed seeps incontinently out of the figures as their shadows."
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In
October 1971, Dyer accompanied Bacon to Paris for the opening of the artist's retrospective at the
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Canedy, Norman W. "Francis Bacon at the
Metropolitan Museum (Current and Forthcoming Exhibitions)".
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Aliaga, Juan Vicente. "Francis Bacon — "Galerie Marlborough, Madrid, Spain".
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Thornton, Sarah. "Francis Bacon claims his place at the top of the market]".
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bald-headed, his convex back deformed, his testicles contracted in a fold."
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exhibition found a resemblance between the concept of the central panel and
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48:(1909–1992). The oil-on-canvas was painted in memory of Bacon's lover
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Wullschlager, Jackie. "Humanity in all its agony and emptiness".
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Davis, Hugh M. (1975). "Francis Bacon". Exhibition catalogue,
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Study for Portrait II (After the Life Mask of William Blake)
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for $ 6.3 million, then a record for a Bacon painting.
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Portrait of Isabel Rawsthorne Standing in a Street in Soho
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Triptych Inspired by T.S. Eliot's Poem "Sweeney Agonistes"
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is generally regarded as the most accomplished. In 2006,
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Love Is the Devil: Study for a Portrait of Francis Bacon
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Three Studies for Figures at the Base of a Crucifixion
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Three Studies for Figures at the Base of a Crucifixion
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Version No. 2 of Lying Figure with Hypodermic Syringe
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Farr, Dennis; Peppiatt, Michael; Yard, Sally (1999).
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The Brutality of Fact: Interviews With Francis Bacon
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Study after Velázquez's Portrait of Pope Innocent X
489:Harrison, Martin. "Francis Bacon: lost and found".
529:Norton, James. "The six loves of Francis Bacon".
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1385:Three Studies for a Portrait of Henrietta Moraes
751:. BBC documentary film, first aired 9 June 1985.
1393:Three Studies for a Portrait of Muriel Belcher
1268:Triptych Inspired by the Oresteia of Aeschylus
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67:Bacon painted when confronting Dyer's death,
446:, 16 November 2000. Retrieved on 7 May 2007.
1444:Study for a Self-Portrait—Triptych, 1985–86
1326:Three Studies for a Portrait of George Dyer
652:, 1975. Volume 117, issue 867. pp. 425–426.
44:completed in 1973 by the Irish-born artist
1252:Two Figures Lying on a Bed with Attendants
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802:Dawson, Barbara; Sylvester, David,(2000).
708:". tate.org.uk. Retrieved on 13 June 2007.
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407:, 11 July 2006. Retrieved on 4 July 2007.
1462:List of large triptychs by Francis Bacon
1350:Portrait of George Dyer and Lucian Freud
1191:Study of Red Pope 1962. 2nd version 1971
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82:was purchased at auction in 1989 by
788:Davies, Hugh; Yard, Sally, (1986).
637:Farr, Peppiatt, Yard (1999), p. 16.
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28:, 198 × 147 cm. Collection of
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776:Francis Bacon and the Loss of Self
464:Heaney, Joe. "Love is the Devil".
433:Post-War Works Shine at Christie's
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1033:Three Studies from the Human Head
122:Study for the Head of George Dyer
834:. (London) Thames & Hudson.
792:. (New York) Cross River Press.
1436:Three Studies for Self-Portrait
1420:Three Studies for Self Portrait
1334:Portrait of George Dyer Talking
1276:Second Version of Triptych 1944
1220:Three Studies for a Crucifixion
1057:Study for a Bullfight, Number 2
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311:When asked by the broadcaster
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16:1973 painting by Francis Bacon
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1358:Three Studies of Lucian Freud
1342:Three Studies for George Dyer
674:van Alphen (1992), pp. 25–26.
861:Francis Bacon (World of Art)
706:Triptych – August 1972
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1479:Influences on Francis Bacon
778:. (London) Reaktion Books.
686:Davies; Yard (1986), p. 65.
606:Davies; Yard (1986), p. 74.
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1532:Paintings by Francis Bacon
1467:Triptychs by Francis Bacon
845:Peppiatt, Michael (1996).
774:van Alphen, Ernst (1992).
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626:Metropolitan Museum of Art
594:Davis, Yard (1986), p. 69.
388:Davis, Yard (1986), p. 65.
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217:Metropolitan Museum of Art
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201:, by Albrecht Dürer, 1514
1017:Study for Crouching Nude
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511:Peppiatt (1996), p. 214.
502:Peppiatt (1996), p. 213.
480:Peppiatt (1996), p. 211.
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1542:Paintings about suicide
1307:Triptych, May–June 1973
1228:Three Figures in a Room
974:Wound for a Crucifixion
806:. Thames & Hudson.
804:Francis Bacon in Dublin
649:The Burlington Magazine
564:Russell (1970), p. 179.
555:Russell (1971), p. 178.
544:Gemeentemuseum Den Haag
326:Triptych, May–June 1973
206:Triptych, May–June 1973
80:Triptych, May–June 1973
69:Triptych, May–June 1973
37:Triptych, May–June 1973
942:Francis Bacon (artist)
859:Russell, John (1971).
717:Schmied (1996), p. 84.
615:Schmied (1996), p. 81.
585:Schmied (1996), p. 82.
379:Dawson (2000), p. 108.
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1151:Study after Velázquez
1001:Figure in a Landscape
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1299:Triptych–August 1972
880:. (Munich) Prestel.
847:Anatomy of an Enigma
830:Muir, Robin (2002).
367:Russell 1971, p. 151
273:Triptych–August 1972
257:Triptych–August 1972
90:Biographical context
1473:The Black Triptychs
747:. "Francis Bacon".
663:The Financial Times
438:1 July 2016 at the
404:The Daily Telegraph
399:Long live mortality
305:Juan Vicente Aliaga
249:The Black Triptychs
242:The Black Triptychs
96:The Black Triptychs
74:The Daily Telegraph
1073:Blood on the Floor
849:. Westview Press.
820:. Harry N Abrams.
397:Crompton, Sarah. "
284:Each of the three
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951:List of paintings
840:978-0-500-54244-6
468:, September 2006.
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353:The Dublin Review
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978:
970:
961:
959:
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954:
949:
946:
945:
938:
937:
930:
923:
915:
906:
905:
888:
871:
857:
843:
832:A Maverick Eye
828:
814:
800:
786:
771:
769:
766:
764:
763:
753:
732:
719:
710:
697:
688:
676:
667:
654:
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617:
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566:
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336:
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247:Main article:
244:
239:
221:Albrecht Dürer
173:
170:
94:Main article:
91:
88:
84:Esther Grether
30:Esther Grether
15:
9:
6:
4:
3:
2:
1554:
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1433:
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1428:Self-portrait
1425:
1422:
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1398:
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1038:
1035:
1034:
1030:
1027:
1026:
1022:
1019:
1018:
1014:
1011:
1010:
1009:Painting 1946
1006:
1003:
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991:
984:
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979:
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922:
917:
916:
913:
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904:
903:0-500-27475-4
900:
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886:3-7913-1664-8
883:
879:
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869:0-500-20169-2
866:
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855:0-8133-3520-5
852:
848:
844:
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837:
833:
829:
827:
826:0-8109-2925-2
823:
819:
815:
813:
812:0-500-28254-4
809:
805:
801:
799:
798:0-89659-447-5
795:
791:
790:Francis Bacon
787:
785:
784:0-948462-33-7
781:
777:
773:
772:
757:
750:
746:
745:Bragg, Melvyn
741:
739:
737:
729:
723:
714:
707:
701:
692:
683:
681:
671:
664:
658:
651:
650:
643:
634:
627:
621:
612:
603:
601:
591:
582:
580:
570:
561:
552:
545:
539:
532:
531:Sunday Herald
526:
517:
508:
499:
492:
486:
477:
475:
467:
461:
452:
445:
441:
437:
434:
428:
421:
420:
413:
406:
405:
400:
394:
385:
376:
374:
364:
362:
354:
348:
346:
344:
342:
337:
330:
327:
321:
318:
317:expressionist
314:
309:
306:
302:
301:Leopold Bloom
298:
294:
289:
288:
279:
275:
274:
269:
265:
263:
259:
258:
250:
243:
238:
234:
230:
228:
227:
223:'s engraving
222:
218:
214:
213:
207:
200:
199:
194:
190:
186:
184:
180:
169:
167:
162:
158:
157:
151:
149:
145:
141:
136:
135:Michel Leiris
132:
131:raison d'être
123:
119:
115:
112:
106:
104:
97:
87:
85:
81:
77:
75:
70:
66:
65:
58:
55:
51:
47:
46:Francis Bacon
43:
39:
38:
31:
27:
26:Oil on canvas
23:
19:
1503:
1495:
1471:
1442:
1434:
1426:
1418:
1399:
1391:
1383:
1364:
1356:
1348:
1340:
1332:
1324:
1306:
1305:
1297:
1288:
1274:
1266:
1258:
1250:
1242:
1234:
1226:
1218:
1210:
1189:
1181:
1173:
1165:
1157:
1149:
1130:
1122:
1114:
1106:
1098:
1090:
1071:
1063:
1055:
1047:
1039:
1031:
1023:
1015:
1007:
999:
980:
972:
964:
958:Crucifixions
908:
894:
877:
860:
846:
831:
817:
803:
789:
775:
756:
748:
727:
722:
713:
700:
691:
670:
662:
657:
647:
642:
633:
620:
611:
590:
569:
560:
551:
538:
530:
525:
516:
507:
498:
490:
485:
465:
460:
451:
443:
427:
417:
412:
402:
393:
384:
352:
325:
322:
313:Melvyn Bragg
310:
285:
283:
271:
262:Tate gallery
255:
252:
241:
235:
231:
226:Melencolia I
224:
210:
205:
204:
198:Melencolia I
196:
187:
175:
161:barbiturates
156:Grand Palais
154:
152:
147:
130:
127:
121:
107:
99:
79:
72:
68:
62:
59:
54:Grand Palais
36:
35:
34:
18:
1506:(1998 film)
1498:(1981 book)
1236:Crucifixion
1084:Head series
1025:Two Figures
966:Crucifixion
628:, New York.
444:Artnet News
179:Colm Tóibín
172:Description
50:George Dyer
1521:Categories
863:. Norton.
1537:Triptychs
1447:(1985–86)
1203:Triptychs
1178:(c. 1954)
466:Gay Times
455:Sotheby's
166:Eumenides
1108:Head III
893:(1987).
876:(1996).
728:ArtForum
436:Archived
293:Golgotha
280:, London
276:(1972).
183:Eumenide
42:triptych
1488:Related
1132:Head VI
1116:Head IV
1100:Head II
993:Figures
768:Sources
355:, 2000.
140:benders
1439:(1979)
1431:(1973)
1423:(1973)
1404:(1967)
1396:(1966)
1388:(1963)
1369:(1976)
1361:(1969)
1353:(1967)
1345:(1967)
1337:(1966)
1329:(1964)
1310:(1973)
1302:(1972)
1279:(1988)
1271:(1981)
1263:(1976)
1255:(1968)
1247:(1967)
1239:(1965)
1231:(1964)
1223:(1962)
1215:(1944)
1194:(1971)
1186:(1962)
1170:(1954)
1162:(1953)
1154:(1950)
1135:(1949)
1127:(1949)
1124:Head V
1119:(1949)
1111:(1949)
1103:(1949)
1095:(1949)
1092:Head I
1076:(1986)
1068:(1970)
1060:(1969)
1052:(1968)
1044:(1955)
1036:(1953)
1028:(1953)
1020:(1952)
1012:(1946)
1004:(1945)
985:(1950)
977:(1933)
969:(1933)
901:
884:
867:
853:
838:
824:
810:
796:
782:
546:, 2001
297:Handes
124:(1966)
1143:Popes
333:Notes
299:, or
148:their
40:is a
899:ISBN
882:ISBN
865:ISBN
851:ISBN
836:ISBN
822:ISBN
808:ISBN
794:ISBN
780:ISBN
761:do".
278:Tate
260:the
144:Soho
401:".
1523::
735:^
679:^
599:^
578:^
473:^
442:"
372:^
360:^
340:^
295:,
934:e
927:t
920:v
842:.
704:"
431:"
76:'
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