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Triptych–August 1972. Oil on canvas, Tate Gallery
Triptych–August 1972. Oil on canvas, Tate Gallery
Triptych, May–June 1973, 1973. Oil on canvas. Private collection, Switzerland. The alarm indicated by the arrows in this work betrays the stoicism Bac
Triptych, May–June 1973, 1973. Oil on canvas. Private collection, Switzerland. The alarm indicated by the arrows in this work betrays the stoicism Bacon displayed on the night of the suicide and premiere, when he acted the model host, and met politicians and dignitaries "as if nothing had happened"
Dyer photographed by John Deakin, retouched by Bacon, who often folded, creased or spattered with paint his photographs of friends so as to find disto
Dyer photographed by John Deakin, retouched by Bacon, who often folded, creased or spattered with paint his photographs of friends so as to find distortions he could exploit in his paintings. Although Dyer was handsome and charming, he was out of his depth when dealing with both Bacon's wasp-tongued Soho set and intellectual art world friends.
Center panel from Bacon's Study for a Self-Portrait—Triptych, 1985–86. This work was painted after an extended period of examination of the effect of
Center panel from Bacon's Study for a Self-Portrait—Triptych, 1985–86. This work was painted after an extended period of examination of the effect of age and time on both himself and his close friends, during a period when many of those around him died. Tied to the black triptychs in theme, format, structure and tone, this work is considered the masterpiece of his late period.
Study for the Head of George Dyer (1966)
Study for the Head of George Dyer (1966)
Melencolia I, by Albrecht Dürer, 1514
Melencolia I, by Albrecht Dürer, 1514