second version of triptych 3프랜시스 베이컨 · 1944

Visual Composition and Subject Matter

In second version of triptych 3, Francis Bacon centers the composition on a grotesque canine figure. The animal is sprawled across a surface resembling a brick wall or a tabletop, its form delineated by stark black lines. This central subject is set against a searing crimson background that dominates the visual field. The dog's gaping maw is open wide, capturing a moment that oscillates between a yawn and a desperate vocalization.

The arrangement creates a sense of profound isolation. The animal's position in the middle of the frame, combined with the aggressive contrast of the red backdrop and the dark outlines of its body, focuses the viewer's attention on its physical vulnerability. The tension of the scene relies on the interaction between the animal's distorted anatomy and the rigid, flat planes of the surrounding space.

Technique and Artistic Style

The work is rooted in Expressionism, utilizing a visceral approach to form and color. The artist employs aggressive brushstrokes and a method of layering paint onto the canvas to create a surface that appears to pulsate with suppressed emotion. This heavy application of medium results in a palpable physicality, where the texture of the paint becomes as significant as the imagery itself.

Thick impasto strokes define the composition, particularly within the searing crimson background. These tactile applications of paint provide a sense of depth and weight, contrasting the stark black lines used to delineate the central figure. The resulting surface is not merely a representation but a physical record of the artist's movement and intensity.

Related Works by Francis Bacon

Bacon’s engagement with the triptych format was a sustained preoccupation. He produced 28 known large triptychs between 1944 and 1985–86. This specific period of production includes the 1944 work titled second version of triptych 1. His exploration of the human form and its distortion is further evidenced in Three Studies for Figures at the Base of a Crucifixion, also from 1944.

The artist's output also encompasses single canvas works, such as three studies of isabel rawsthorne, about 1967. These varied formats allowed for different approaches to spatial confinement and the presentation of the figure.