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Triptychs by Francis Bacon
The Irish-born artist Francis Bacon (1909–1992) painted 28 known〔Bacon was a ruthless self editor, likely many more were destroyed〕 triptychs between 1944 and 1986.〔Sylvester, 107〕 He began to work in the format in the mid-1940s with a number of smaller scale formats before graduating in 1962 to large examples. He followed the larger style for 30 years, although he painted a number of smaller scale triptychs of friend's heads, and after the death of his former lover George Dyer in 1971, the three acclaimed "Black Triptychs".
==Overview==
Bacon was a highly mannered artist often preoccupied with forms, themes, images and modes of expression that he would rework for sustained periods, often across decades. When asked about his tendency for sequential paintings, he explained how, in his mind, images revealed themselves "in series. And I suppose I could go long beyond the triptych and do five or six together, but I find the triptych is a more balanced unit."〔Sylvester, 100〕 His career began with the 1944 triptych ''Three Studies for Figures at the Base of a Crucifixion'', an instant critical and popular success. The format appealed to him; he said, "I see images in series", according to Bacon images suggested other images and series became his dominant motif. He moved past the triptych format, and from the late 40s to the late 50s produced works in series of up to 10 works, many of which rank amongst his finest, including his series of Popes, heads and men in suits.
Bacon fell from critical favour in the late 1950s having been a darling for the previous 10 years. He later admitted he had lost his voice and was seeking a new way to express himself which involved a lot of transitional work, much of which he destroyed, and much of which he preferred not to be included in his cannon. His 1962 Three Studies for a Crucifixion'', painted to coincide with his first retrospective at the Tate, marked a return to form and has been highly praised by critics and historians such as David Sylvester, Michel Leiris and Michael Peppiatt as a key turning point in his career.
He told critics that his usual practice with triptychs was to begin with the left panel and work across. Typically he completed each frame before beginning the next. As the work as a whole progressed, he would sometimes return to an earlier panel to make revisions, though this practice was generally carried out late in the overall work's completion.〔
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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