“Three Studies for Figures at the Base of a Crucifixion” is a painting on a set of three panels, referred to as triptych. Created in 1944, the painting worked as a resurrection for the Irish artist Francis Bacon. He had been consigned to oblivion, subsequent of him being critical of his own earlier works and considering them as very juvenile and of ordinary reverence. The exposition of the triptych in 1945, after the Second World War, swarmed in accolades and stamped Francis amongst the distinguished artists in the post-war era.
Bacon conceptualized “Three Studies for Figures at the Base of a Crucifixion” from the Greek mythology of three goddesses of vengeance (The Furies), Alecto, Tisiphone, and Megaera, who would chastise the perpetrators of humanly un-avenged immoralities. Still, many called them mammoth sized animals attributing to human shape and characteristics (anthromorphs), on a background that resembled that of the discordant rusty orange setting sun. This intriguing and inconsistently shaded background color incensed emotions in the viewers. The hue in that mourning, post war period, in a way inspired people to resurrect and see a new dawn. The bodies of the creatures are done in grey and white, while their props are hued in the shades of yellow, green, white, and purple.
The 94cm x 74cm oil and pastel on an inexpensive Sundeala board, Francis’ “Three Studies for Figures at the Base of a Crucifixion,” represents the crucifixion of Jesus, with that of two thieves too, on his either sides. The first art piece from left bears analogy to human form that appeared to lament and express a profound act of sorrow, with its head stooping in respect at the cross. This limbless organism is placed on a stool and has a long neck, round shoulders, and a hairy head. The central creation was prodigiously perturbing and grievous, looking straight at the bystander. The creature is blindfolded, with a white cloth and the gnashing teeth, protruding from the outstretched neck, an inspired imitation of the Christ being disgraced and blindfolded. The extreme right painting shows a strong monstrous animal with its mouth wide open. The cross, as such is notably absent in the painting. “Three Studies for Figures at the Base of a Crucifixion,” in fact is all about the distress and the tribulation of the process.
Francis’ this anomalous creation, completed within a fortnight, put him on the altar he desired. In an interview, he admitted, “I’ve never known why my paintings are known as horrible. I’m always labeled with horror, but I never think about horror. Pleasure is such a diverse thing. And horror is too. Can you call the famous Isenheim altar a horror piece? Its one of the greatest paintings of the Crucifixion, with the body studded with thorns like nails, but oddly enough the form is so grand it takes away from the horror. But that is the horror in the sense that it is so vitalising; isn’t that how people came out of the great tragedies? People came out as though purged into happiness, into a fuller reality of existence.” “Three Studies for Figures at the Base of a Crucifixion” is presently displayed at the Tate Britain, London.
Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art.
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