Untitled (Kneeling figure, 1982)
Oil on canvas
198 x 147.5 cm
The Estate of Francis Bacon Collection
Kneeling Figure (c.1982) draws on a theme Bacon investigated between
1979 and 1984: Oedipus and The Sphinx.
In these fragmented torsos, painted with a complex blurring of gender
distinctions, Bacon incorporated some of his most powerful representations
of shifting sexual orientation.
Francis Bacon, Figure in Sea, circa 1957. Oil on canvas.
Bacon’s ‘Figure in Sea’ circa 1957 is one of only two surviving seascapes,
and was the starting point for the show’s selection process.
Ordovas believe that it is thought Bacon intended to add to the lightly present
structure outlined in the sea. ‘Figure in Sea’ remained unrecorded until it
was discovered in 1997 a number of years after Bacon had passed away.
Study for a Portrait March 1991
Oil and pastel on canvas
198.00 x 147.50 cm
National Galleries of Scotland
This is one of the last paintings Bacon completed. It is the second in a
series of three portraits of his friend, the artist Anthony Zych.
Zych appears to be standing in a doorway, possibly that of the artist’s studio.
The camera tripod is an element repeated from the central panel of a triptych
painted in 1944. Bacon’s portraits were almost without exception of people
with whom he was familiar. He preferred to paint his subjects not from life
but from photographs. This was the first painting by Bacon to enter the
collection of the Modern One.