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Student Artwork Guide

second version of triptych 1

Francis Bacon, 1944

Name Class Date
Francis Bacon, second version of triptych 1 (1944). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Francis Bacon originaluniqueart.com/en/artists/francis-bacon/
Artist’s dates
1909 – 1992
Painted
1944
Medium
Acrylic On Canvas
Movement
Contemporary Realism Living artists painting the real world with traditional skill, often from photographs as well as from life.
Period
Modern
Artistic style
Figurative, Surrealist
Influences
Surrealism, Picasso
Notable elements or techniques
Distorted figures, red background
Subject or theme
Human anguish, isolation

Copyright This work is still under copyright. Francis Bacon died in 1992; copyright lasts 70 years after the artist’s death, so it remains in force until 2062. The image is shown here for classroom reference; rights remain with the rights holder.

Source: OriginalUniqueArt.com — accessed Oct. 6, 2026

second version of triptych 1 — Francis Bacon Part 1 · The artwork

In context

second version of triptych 1 — Francis Bacon

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970
  9. 1980
  10. 1990

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 83 at death.

Painted when the artist was 35. The artist lived to 83. 1 of the 111 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Francis Bacon (1909–1992) ▲ this work, 1944 every dated painting, decade by decade

First works: up to 1953 Main working years: 1953–1980 Late works: from 1980

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/francis-bacon-second-version-of-triptych-1-6E3SWX-en/

Colours

Measured from the image

    Main colour

    Walnut #72261b

    Catalogued palette

    • #72261B
    • #66150F
    • #C47A64
    • #210606

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Francis Bacon over the last twelve months — 43 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 40.6%
    2. 2 South Korea 7.7%
    3. 3 United States of America 6.5%
    4. 4 Italy 5.2%
    5. 5 France 3.9%
    6. 6 Australia 3.8%
    7. 7 Brazil 3.6%
    8. 8 Hong Kong 2.7%
    9. 9 Spain 2.3%
    10. 10 Romania 2.3%
    11. · 33 other countries 21.4%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Francis Bacon

    1. 1 Three Studies for Figures at the Base of a Crucifixion, 1944 9.2%
    2. 2 painting, 1946, 1946 4.4%
    3. 3 study after velazquez's portrait of pope innocent x, 1953, 1953 4.1%
    4. 4 Three Studies of Lucian Freud, center, 1969 2.2%
    5. 5 figure with meat, 1954 2.1%
    6. 6 head vi, 1949 2.1%
    7. 7 Portrait of George Dyer in a Mirror, 1968 1.9%
    8. 8 Dog, 1952 1.8%
    9. 9 henrietta moraes 1.6%
    10. 10 STUDIES FROM THE HUMAN BODY (triptych, left), 1970 1.3%
    11. 11 Head-VI Arts council of Great Britain, London, 1949 1.2%
    12. 12 triptych, may - june, 1973 a 1.2%
    13. 13 Figures getting out of a car 1.2%
    14. 14 Three Studies of Lucian Freud, left, 1969 1.1%
    15. 15 Study for a Portrait, March 1991, 1991 1.1%
    16. 16 triptych, may - june, 1973 c 1.1%
    17. 17 Study for self-portrait 1.0%
    18. 18 self-portrait, 1969 1.0%
    19. 19 Three Studies of Lucian Freud, right, 1969 0.9%
    20. 102 second version of triptych 1, 1944 this painting 0.2%

    Together these works take 40.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 430 works by this artist, of which 269 were looked at at least once. This painting ranks 102 of them, with 0.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: OriginalUniqueArt.com — accessed Oct. 6, 2026

    second version of triptych 1 — Francis Bacon Part 2 · In context

    About this artwork

    second version of triptych 1 — Francis Bacon

    Francis Bacon’s ‘Second Version of Triptych 1’: A Descent into Visceral Anxiety

    This arresting image, a “Second Version” created in 1988 from the original 1944 work, offers an unflinching glimpse into the tormented psyche of Francis Bacon. Executed during a period of profound artistic and personal upheaval, it embodies the core tenets of his mature style – a brutal honesty rendered with unsettling precision. The composition immediately confronts the viewer with a solitary figure seated in a chair, head bowed, their appearance obscured by a mask-like distortion. This deliberate ambiguity is central to Bacon’s project: he wasn't interested in depicting recognizable reality but rather in conveying raw emotion and existential dread.

    Subject Matter: The solitary figure represents the universal human condition – vulnerability, isolation, and perhaps most acutely, the anxieties of a world shattered by war.

    Style & Technique: Bacon’s technique is characterized by a relentless pursuit of distortion. He employed a process of layering oil paint, often applied with palette knives and rags, to achieve a textured, almost sculptural surface. The figure's form seems to dissolve into the surrounding space, creating a sense of claustrophobia and unease.

    Color Palette: The dominant red wall serves as a jarring counterpoint to the muted tones of the figure and chair, intensifying the emotional impact and suggesting violence or impending doom.

    Historical Context & Post-War Trauma

    Painted in 1944, at the height of World War II, this work reflects the pervasive sense of anxiety and disillusionment that gripped Europe. Bacon’s early life, marked by instability and his mother's illness, undoubtedly informed his artistic vision. The displacement he experienced – both physical and emotional – resonates powerfully within the painting. This wasn't merely a depiction of an individual; it was a visual manifestation of the collective trauma of the era, a reflection on the loss of innocence and the fragility of human existence.

    The “Second Version” created nearly four decades later demonstrates Bacon’s continued engagement with these themes. The fact that he revisited this subject matter suggests a persistent preoccupation with the darker aspects of the human condition – a theme that would define much of his career.

    Symbolism & Psychological Depth

    The mask-like distortion of the figure is perhaps the most compelling element of the painting. It obscures identity, suggesting a loss of self and an inability to connect with others. The chair itself can be interpreted as a symbol of confinement, further emphasizing the sense of isolation. Bacon was deeply interested in exploring the subconscious mind, and his work often operates on a profoundly psychological level. He sought to capture not just what he saw, but what he felt – the raw, unfiltered emotions that lie beneath the surface of consciousness.

    The Mask: Represents anonymity, alienation, and the suppression of true emotion.

    The Chair: Symbolizes entrapment, vulnerability, and a lack of agency.

    Emotional Impact & Artistic Legacy

    ‘Second Version of Triptych 1’ is not a comfortable image; it demands attention and provokes a visceral response. Bacon's work continues to resonate with viewers today because it confronts us with uncomfortable truths about ourselves and the world around us. It stands as a testament to his courage, his artistic vision, and his ability to translate profound psychological states into powerful visual form. This reproduction offers an opportunity to experience firsthand the intensity and emotional depth of one of the 20th century’s most significant artists.

    Source: OriginalUniqueArt.com — accessed Oct. 6, 2026

    second version of triptych 1 — Francis Bacon Part 3 · About this artwork

    Artist and museum

    Artist

    Francis Bacon

    Born in Dublin, Ireland

    The Brutality of the Human Image

    To look at a Francis Bacon canvas is to encounter a direct assault on the nervous system. He did not seek to decorate; he sought to capture the raw, often terrifying reality of existence through a distinctive and disturbing realism. While his contemporaries drifted toward the safety of abstraction, Bacon anchored himself in the human form, though he stripped that form of any dignity or comfort. His work functions as a visceral response to the mid-twentieth century, translating anxiety and physical vulnerability into smeared, violent colors and contorted limbs.

    The power of his imagery stems from a refusal to look away from degradation. He utilized oils with a fluidity that allowed for the depiction of flesh that seems to be dissolving or bruising under pressure. By placing figures within geometric structures—transparent cages or architectural space-frames—he forced a sense of claustrophobia upon the viewer. These frames were not mere compositional tools; they were devices to concentrate the image and trap the subject in a state of permanent isolation.

    A Life of Displacement and Design

    Bacon’s path to the canvas was far from academic. Born in Dublin, Ireland, his early years were marked by instability and a difficult relationship with his parents. He moved through London, Berlin, and Paris, living a life that was often as turbulent as his later paintings. Before he was recognized as a painter, he worked as an interior designer and decorator. This period of his life produced tangible, structured objects:

    Royal Wilton rugs featuring abstract motifs.

    Cocktail shelves and room screens with geometric silhouettes.

    Calfskin pouffes and tubular steel furniture.

    This background in design provided a structural foundation that would later manifest in his use of cubic, architectural framing. He was a self-taught artist who bypassed the traditional art school route, instead absorbing influences through direct observation and chance encounters. His transition from decorator to painter was catalyzed by seeing Picasso’s work in Paris, which revealed the possibilities of using organic, bone-like structures to distort the human image.

    The Mechanics of Terror

    Bacon’s visual language was built from a specific set of cinematic and classical references. He did not invent his horrors in a vacuum; he reconfigured existing imagery to suit a more primal purpose. The screaming face, a recurring motif, finds its roots in the visceral imagery of Sergei Eisenstein's film Battleship Potemkin. Similarly, his fascination with the distortion of the body was informed by the works of Picasso and the studies of motion by Eadweard Muybridge.

    His most famous reinterpretations involved taking established authority and breaking it. In his series of works based on Velázquez’s Portrait of Pope Innocent X, he transformed a dignified papal figure into a nightmarish, screaming specter. He used the concept of the crucifixion not as a religious statement, but as an armature to hang sensations of suffering. This approach allowed him to explore universal themes of mortality and the human condition without the distraction of spiritual solace.

    The Final Verdict

    Bacon’s significance lies in his ability to confront the darker corners of the soul with brutal honesty. He rejected the polished beauty of traditional portraiture in favor of an unflinching portrayal of agony and isolation. His later works, while often utilizing lighter colors, maintained this core intensity, focusing on the psychological weight of his subjects, including his lover George Dyer. He remains a central figure because he provided a visual language for the twentieth century's deepest anxieties, ensuring that the image of the suffering human remains impossible to ignore.

    Where to read more

    Find this online

    QR code linking to the download page for second version of triptych 1

    originaluniqueart.com/en/art/download/francis-bacon-second-version-of-triptych-1-6E3SWX-en/

    Cite this artwork

    MLA
    Bacon, Francis. second version of triptych 1. 1944, https://originaluniqueart.com/en/art/francis-bacon-second-version-of-triptych-1-6E3SWX-en/
    APA
    Bacon, Francis (1944). second version of triptych 1 [Painting]. https://originaluniqueart.com/en/art/francis-bacon-second-version-of-triptych-1-6E3SWX-en/
    Chicago
    Francis Bacon. second version of triptych 1. 1944. https://originaluniqueart.com/en/art/francis-bacon-second-version-of-triptych-1-6E3SWX-en/
    Harvard
    Bacon, Francis (1944) second version of triptych 1. Available at: https://originaluniqueart.com/en/art/francis-bacon-second-version-of-triptych-1-6E3SWX-en/

    Source: OriginalUniqueArt.com — accessed Oct. 6, 2026

    second version of triptych 1 — Francis Bacon Part 4 · Artist and museum

    Look closely

    second version of triptych 1 — Francis Bacon

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: red wall, chair subject, emotional distress. Do you agree? What would you add, or take away?
    4. Look back at Three Studies for Figures at the Base of a Crucifixion (1944), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Contemporary Realism: Living artists painting the real world with traditional skill, often from photographs as well as from life. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: OriginalUniqueArt.com — accessed Oct. 6, 2026

    second version of triptych 1 — Francis Bacon Part 5 · Look closely

    Questions & Answers

    How do the colors of "second version of triptych 1" by Francis Bacon relate to its emotion?

    The dark palette of "second version of triptych 1" by Francis Bacon goes together with its melancholic emotional tone. Color is one of the ways a work conveys feeling.

    What feeling does "second version of triptych 1" by Francis Bacon convey?

    "second version of triptych 1" by Francis Bacon conveys a melancholic feeling within an overall dramatic mood.

    When and with what materials was "second version of triptych 1" made?

    "second version of triptych 1" was created in 1944 using the acrylic on canvas technique. Material and date describe how and when the original was made.