Color in Motion Vol 146: Francis Bacon’s Triptych “In Memory of George Dyer 1971″
I have been fascinated with the power of Francis Bacon’s work as of late, looking for anything I can to try and understand the configuration and approach of this unique and original artist. There is a mystic and over cloaking of darkness that pushes and extenuates all the paintings I have seen where imagery and imagination blur lines of possibility and practicality. Nothing is normal but everything is rooted in emotional settings that everyone faces in this world. I feel like what I have seen from Francis Bacon has been atomically reconfigured from what was originally painted, something that leaves me in focus on the smallest of details for long extensive periods of time. I am overly anticipating the first time I get to grace the presence of one of his pieces in person. Until that day, we can thank the internet for shedding more doorways to uncover this knowledge. Today we present an image from the Triptych series paintings held in 70′s that Bacon made for George Dyer. The story behind this particular three section art piece is all too surreal, which we have included from the lovely Tate Britian below.
Triptych – In Memory of George Dyer 1971
Oil on canvas
1980 x 1475 mm each
© The Estate of Francis Bacon/DACS 2008 Fondation Beyeler, Riehen/Basel
From Tate Britian:
This room is dedicated to George Dyer who was Bacon’s most important and constant companion and model from the autumn of 1963. He committed suicide on 24 October 1971, two days before the opening of Bacon’s major exhibition at the Grand Palais in Paris.
Influenced by loss and guilt, the painter made a number of pictures in memorial to Dyer. From this period onwards the large-scale triptych was his established means for major statements, having the advantage of simultaneously isolating and juxtaposing the participating figures, as well as guarding against narrative qualities that he strove to avoid.
But while evading narratives, Bacon drew more than ever from literary imagery; the first of the sequence, Triptych In Memory of George Dyer 1971, refers to a specific section of T.S. Eliot’s poem ‘The Waste Land’.
In addition to his own memory, for Triptych – August 1972 Bacon relied on photographs taken by John Deakin of Dyer in various poses on a chair. He confined his dense and energetic application of paint to the figures in these works. The dark openings consciously evoke the abyss of mortality that would become a recurring concern in Bacon’s later works.