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''Three Studies for Figures at the Base of a Crucifixion'' is a 1944 triptych painted by the Irish-born British artist Francis Bacon. The work is based on the Eumenides—or Furies—of Aeschylus's ''The Oresteia'', and depicts three writhing anthropomorphic creatures set against a flat burnt orange background. ''Three Studies'' was executed in oil paint and pastel on Sundeala fibre board and completed within two weeks. The triptych summarises themes explored in Bacon's previous paintings, including his examination of Picasso's biomorphs and his interpretations of the Crucifixion and the Greek Furies. Bacon did not〔It is doubtful that he ever intended to do so. He made the point in several interviews, but more likely is that the prefix ''Studies'' was reflective of the fact that he was at the time unsure of his ability, and destroyed the majority of his paintings. See Schmied (1996), 75〕 realise his original intention to paint a large crucifixion scene and place the figures at the foot of the cross.〔"(Three Studies for Figures at the Base of a Crucifixion circa 1944 )". Tate Gallery display caption. Retrieved on 18 May 2007.〕 The ''Three Studies'' triptych is generally considered Bacon's first mature piece;〔Bragg, Melvyn. "Francis Bacon". ''South Bank Show''. BBC documentary film, first aired 9 June 1985.〕 he regarded his works before the triptych as irrelevant, and throughout his life tried to suppress their appearance on the art market. When the painting was first exhibited in 1945 it caused a sensation and helped to establish him as one of the foremost post-war painters. Remarking on the cultural significance of ''Three Studies'', the critic John Russell observed in 1971 that "there was painting in England before the Three Studies, and painting after them, and no one ... can confuse the two."〔Russell (1971), 22〕 ==Background== As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest.〔Schmied (1996), 121〕 He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject.〔Davies, Yard (1986), 12〕 These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds,〔Gale, Matthew. "(Three Studies for Figures at the Base of a Crucifixion, circa 1944 )". Tate Gallery Online, November 1998. Retrieved on 7 April 2007.〕 and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless."〔Schmied (1996), 75〕 The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns."〔 Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration,〔 instead immersing himself in love affairs, drinking and gambling.〔Peppiatt (1996), 107〕 When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on ''The Oresteia''.〔Davies, Yard (1986), 8〕 He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in ''Crucifixion, 1933''.〔 ''Three Studies'' was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer."〔Sylvester (1987), 13〕 The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.〔Sylvester (2000), 257〕 Although he had been painting for almost twenty years, Bacon steadfastly insisted that ''Three Studies'' was the ''fons et origo'' of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.〔Peppiatt, Michael. In Zweite (2006), 17〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Three Studies for Figures at the Base of a Crucifixion」の詳細全文を読む スポンサード リンク
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