Francis Bacon - Two Figures

Two Figures on a Couch (1967)

Francis Bacon

Two Figures (1953)

Francis Bacon

I was initially going to write about  two very contrasting or striking pieces like “study for self portrait” (1964) or “three studies for crucifixion” (1962) but ended up feeling drawn to these two pieces. 

The style of these two pieces perfectly encapsulate the individual themes portrayed. Through the 50s, Francis Bacon used grey tones and muted colours, warping and transforming shapes within outward anatomy, style changing through the 60s as he explored a lot more colour whilst expressing themes through experimental shapes within portraiture, delving past human skin and searching within our anatomy to study and dissect the human form. Although one would expect to feel more complex emotions about a contemporary piece like “Two Figures on a Couch” there's something so visceral about “Two figures on a Bed”, an expression of aggression and apathy towards one another, strong striking boundaries between human form and a lack of connection. 

The two bodies are in contention, unable to truly embrace or transmute while desperate attempts are communicated with harsh and firm brush strokes between, blending forms into one, melding their faces and chests.“Two Figures on a Couch” presents little to no boundary between forms, limbs melting into one another, colours blended to create new palettes, where shadows are disregarded bright glowing blues take their place within pink bodies surrounded by light. Animalistic in their softened embrace, the two figures show a level of comfort and growth in comparison to the previous piece.  

I find this progression shows Francis’ own feelings of growth within his relationship and sexuality. During the creation of “Two figures on a couch Bacon was in a committed relationship with George Dyer, which has been acknowledged as one that held the most impact in his personal life and art, Dyer being somewhat of a muse for his works. Dyer was a symbol of vulnerability and mortality both in life and death within Bacon's art, I can't help but feel the mirroring of these two artworks almost a decade apart was intentional, although there are definite variations in composition.

Both of these pieces depict a state of distorted raw emotion, mirroring and highlighting the human condition, isolation, mortality and a variety in forms of companionship. We can embrace each other with compassion, devotion and tenderness or indifference, apathy and neglect. Companionship can be about intention, how it is perceived and received, at times it's impossible to categorize love, these pieces depict this perfectly.

Written By: Juno Delacy Hartigan