Paper

Student Artwork Guide

Three Studies for Self-Portrait

Name Class Date

Francis Bacon, Three Studies for Self-Portrait (1979), Metropolitan Museum of Art. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Francis Bacon wahooart.com/en/artists/francis-bacon/
Artist’s dates
1909 – 1992
Painted
1979
Medium
Acrylic On Canvas
Original size
38 x 32 cm
Movement
Expressionistic Horror
Held at
Metropolitan Museum of Art wahooart.com/en/museums/metropolitan-museum-of-art-new-york/
Artistic style
Psychological depth
Influences
David Sylvester
Notable elements or techniques
Gestural brushstrokes, distorted features
Subject or theme
Identity, mortality

In context

Three Studies for Self-Portrait — Francis Bacon

How big is it?

The original measures 38 × 32 cm (height × width), drawn here beside an adult of average height.

When was this painted?

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

Shaded: the lifetime of Francis Bacon (1909–1992) ▲ this work, 1979

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: wahooart.com/en/art/similar/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #1b1b1e

    Catalogued palette

    • #1B1B1E
    • #F7F7F7
    • #4A4448
    • #83777B
    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant 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
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Three Studies for Self-Portrait — Francis Bacon

    A Descent into Darkness: Examining Bacon’s “Three Studies for Self-Portrait”

    Francis Bacon's "Three Studies for Self-Portrait," completed in 1979, isn’t merely a depiction of the human face; it’s an unsettling confrontation with mortality and psychological vulnerability. Executed during a period marked by profound personal loss – Bacon’s wife Aline Meyer had succumbed to cancer just months prior – this triptych embodies his characteristic preoccupation with confronting existential anxieties through visceral imagery. As Bacon himself famously articulated, “I loathe my own face . . . I’ve done a lot of self-portraits, really because people have been dying around me like flies and I’ve nobody else left to paint but myself.” This statement encapsulates the core impetus behind his artistic endeavor—a desperate attempt to grapple with grief and isolation through the unflinching gaze of his own reflection.

    Composition & Style: Fragmented Identity

    The artwork's compositional strategy is deliberately restrictive, prioritizing a claustrophobic perspective that confines the viewer’s attention solely to the central figure—a stylized head emerging from an abyss of impenetrable black paint. Each panel presents a near-identical portrait, subtly differentiated by nuanced shifts in expression and viewpoint. This repetition underscores the concept of fragmented identity, mirroring the artist's own internal turmoil. Bacon eschewed traditional artistic conventions, favoring loose gestural brushstrokes that convey raw emotion rather than meticulous realism. The resulting style is unmistakably Expressionistic—characterized by distortion, exaggeration, and a palpable sense of unease—reflecting Bacon’s profound engagement with psychoanalytic theory and his desire to portray the subconscious mind.

    Color Palette & Texture: Stark Contrast & Visceral Presence

    Dominantly black, the background serves as a chilling counterpoint to the flesh tones – pinks, reds, and yellows – employed to depict the face itself. These colors are applied with considerable textural dynamism, capturing the artist’s deliberate manipulation of surface qualities. The stark contrast amplifies the psychological impact of the piece, emphasizing the vulnerability inherent in confronting one's own mortality. Subtle shades of grey and white delineate shadows and highlights within the facial features, adding depth and dimensionality to the canvases. Bacon’s technique involved layering paint extensively, allowing brushstrokes to remain visible—a conscious decision that reinforces the artwork’s visceral presence and communicates a profound sense of immediacy.

    Symbolism & Emotional Resonance: Confronting Existential Angst

    The abyss-like black background transcends mere visual representation; it symbolizes the unknown, the void, and perhaps most powerfully, the inescapable confrontation with death. Bacon’s deliberate distortion of facial features—particularly the eyes—serves as a conduit for conveying psychological distress and existential angst. The slow panning movement between panels reinforces this thematic preoccupation, suggesting an ongoing process of self-reflection and grappling with profound questions about human existence. As David Sylvester noted, “It’s not just that he paints his own face; it’s that he tries to capture something of what it feels like to be alive.”

    Historical Context & Legacy

    Created in the wake of World War II and amidst a period of significant artistic experimentation, "Three Studies for Self-Portrait" aligns with Bacon's broader exploration of themes related to trauma and suffering. Influenced by Surrealism and Freud’s psychoanalytic theories, Bacon sought to depict not merely what he saw but what he felt—a radical departure from academic conventions that cemented his place as one of the most influential artists of the 20th century. The artwork continues to resonate with audiences today due to its unflinching portrayal of human vulnerability and its masterful manipulation of visual language to convey profound emotional depth. Its enduring power lies in its ability to provoke contemplation on fundamental questions about identity, mortality, and the complexities of the human psyche.

    Artist and museum

    Artist

    Francis Bacon

    Born in Dublin, Ireland

    A Life Immersed in the Visceral

    Francis Bacon, a name synonymous with the rawest emotionality in 20th-century art, was born in Dublin, Ireland, in 1909, yet his artistic spirit found its truest expression within the turbulent landscape of post-war Britain. His early life was far from stable; frequent relocations due to his mother’s health instilled a sense of displacement that would profoundly shape his worldview and, ultimately, permeate his canvases. A complex relationship with his stern father and a close bond with his nanny, Jessie Lightfoot, further colored the emotional terrain of his formative years. Initially drawn to horse racing and a life of gambling, Bacon drifted through various occupations before finally dedicating himself to painting in his late twenties – a delayed start that perhaps intensified the urgency and intensity of his later work. He wasn’t formally trained, instead forging his own path, absorbing influences from diverse sources, and developing a uniquely unsettling visual language.

    The Crucible of Early Influences

    Bacon's artistic awakening was not immediate but rather a gradual accumulation of impressions. The works of Pablo Picasso, particularly the distorted figures of his early Cubist period, proved pivotal in liberating him from traditional representation. He found further inspiration in the haunting photography of Egon Schiele, whose expressive distortions of the human form resonated with Bacon’s own burgeoning fascination with the fragility and vulnerability of existence. However, it was a chance encounter with Sergei Eisenstein's film Battleship Potemkin that provided a crucial catalyst. The film’s visceral imagery, particularly a close-up of a screaming face, became an enduring motif in Bacon’s work, representing primal terror and the depths of human suffering. He also deeply admired the Old Masters, notably Diego Velázquez, whose Portrait of Pope Innocent X he would famously reinterpret throughout his career, transforming the authoritative papal figure into a tormented specter. These influences weren't merely stylistic appropriations; they were absorbed and transmuted through Bacon’s own unique sensibility, resulting in an artistic vision that was both deeply personal and universally resonant.

    Forging a Signature Style: Distortion and Isolation

    Bacon’s breakthrough arrived with *Three Studies for Figures at the Base of a Crucifixion* (1944), a work that shocked and captivated audiences in post-war London. This triptych established his signature style – distorted, fragmented figures isolated within claustrophobic spaces. These weren't depictions of religious martyrdom but rather visceral explorations of human anguish, stripped bare of any comforting narrative or spiritual solace. His paintings often feature blurred or dissolving forms, conveying a sense of psychological turmoil and physical vulnerability. He frequently employed geometric structures—cages, boxes—to confine his subjects, emphasizing their isolation and powerlessness. Bacon’s palette was typically muted and somber, reflecting the dark themes he explored, though punctuated by bursts of intense color that heightened the emotional impact. The use of these cages wasn't merely a compositional device; it symbolized the inherent limitations and constraints imposed upon human existence. He sought to capture not just what things looked like but how they felt, translating inner states of anxiety, fear, and despair onto the canvas with brutal honesty.

    Themes of Mortality, Anguish, and the Human Condition

    Throughout his prolific career, Bacon repeatedly returned to certain motifs: the crucifixion as a symbol of suffering; portraits that delved into the psychological intensity of his subjects, often friends and lovers like George Dyer; and self-portraits that served as introspective explorations of identity and mortality. His Study After Velázquez’s Portrait of Pope Innocent X (1953) series is perhaps one of his most iconic achievements, transforming Velázquez's dignified portrait into a screaming apparition, embodying existential dread. The portraits of George Dyer, his volatile lover, are particularly poignant, capturing both the intensity of their connection and the looming shadow of tragedy. Bacon’s work wasn’t about depicting specific individuals; it was about exploring universal themes of human vulnerability, isolation, and the inevitability of death. He didn't shy away from the darker aspects of existence but rather confronted them head-on, forcing viewers to confront their own mortality and anxieties.

    A Lasting Legacy: Challenging Conventions

    Francis Bacon’s impact on 20th-century art is undeniable. He challenged traditional notions of representation, rejecting idealized beauty in favor of a raw, unflinching portrayal of the human condition. His work profoundly influenced generations of artists, paving the way for new forms of expression and challenging conventional artistic boundaries.

    Post-War Expressionism: Bacon is considered a key figure in this movement, influencing artists with his bold style and psychological depth.

    Auction Records & Museum Exhibitions: His paintings continue to command high prices at auction and are exhibited in major museums worldwide, solidifying his place in art history.

    Confronting Truths: Bacon’s legacy lies in his ability to confront uncomfortable truths about human existence and translate those experiences into powerful and unforgettable images.

    Despite a turbulent personal life marked by gambling, drinking, and complex relationships, he remained dedicated to his art until his death in 1992. He left behind a body of work that continues to resonate with audiences today, reminding us of the fragility of existence and the enduring power of art to confront the darkest corners of the human soul. His paintings are not merely images; they are visceral experiences—a testament to the enduring power of art to provoke, disturb, and ultimately, illuminate the complexities of being human.

    Museum

    Metropolitan Museum of Art

    On show in new york, United States of America

    A Legacy Etched in Stone and Light: Exploring The Metropolitan Museum of Art

    The Metropolitan Museum of Art isn’t merely a repository of beautiful objects; it's a sprawling narrative of human creativity, a testament to our enduring impulse to shape, interpret, and express the world around us. Founded in 1870 by a group of visionary New Yorkers who believed art should be universally accessible—a radical notion at the time—The Met now stands as one of the largest and most comprehensive museums globally. Its Fifth Avenue façade beckons visitors into a realm spanning five millennia and countless cultures, offering an unparalleled journey through time where echoes of ancient civilizations resonate alongside the bold innovations of modern masters.

    A Monument to Grandeur: Architecture and Atmosphere

    To truly appreciate The Met is to understand its physical presence as integral to its identity. The primary building itself—a magnificent embodiment of Beaux-Arts style completed between 1902 and 1914—exudes an air of classical grandeur. Colossal columns frame the entrance, inviting visitors into soaring galleries bathed in natural light; a fitting stage for the masterpieces within. This monumental structure, deliberately designed as a homage to European palaces, speaks to the ambition and vision of its architects, creating a space that feels both imposing and welcoming. Yet, The Met’s architectural narrative doesn't end there. The juxtaposition with The Cloisters, a remarkable sanctuary located uptown in Fort Tryon Park, reveals the museum’s core mission: to present art within a context that enhances its meaning. While Fifth Avenue embodies scale and universality, The Cloisters offers an intimate serenity, transporting visitors to medieval Europe through reconstructed chapels and gardens—a deliberate contrast reflecting a profound understanding of how environment shapes perception and fosters deeper engagement with artistic expression.

    Echoes Through Time: Treasures Across Cultures

    Within the hallowed halls of The Met, one can almost feel the weight of centuries past. Ancient Echoes resonate powerfully; visitors are captivated by the imposing Assyrian reliefs, depicting scenes of royal power and divine ritual—intricate narratives carved into stone that transport us to a world of emperors and gods. These monumental panels, often adorned with vibrant colors remarkably preserved over millennia, offer a glimpse into the complex political and religious beliefs of ancient civilizations. Equally compelling are the Greek sculptures, embodying idealized form and proportion, offering timeless representations of beauty and human potential. The Parthenon Marbles, for example, stand as enduring symbols of classical artistry and democratic ideals.

    But The Met’s treasures extend far beyond the Western canon. Remarkable collections of Asian art—including exquisite Chinese ceramics, each piece a testament to centuries of craftsmanship, and intricate Japanese screens, meticulously painted with scenes of nature and mythology—sit alongside significant holdings in African, Oceanic, and American art. Consider, for instance, the delicate brushstrokes of a Ming dynasty vase, the vibrant colors of a Navajo textile, or the powerful symbolism embedded within an ancient Egyptian amulet—each a glimpse into the vast richness of human creativity across continents and time.

    Moments of Artistic Resonance: From Manet to Rembrandt and Beyond

    Throughout its history, The Met has hosted groundbreaking exhibitions that have reshaped our understanding of art history and culture. A visit wouldn’t be complete without experiencing Édouard Manet’s Boating, capturing leisure on the Seine with its serene Impressionist style—a pivotal work in the transition from realism to modernism. The painting, a vibrant depiction of Parisian life, invites viewers to contemplate the changing social landscape of the 19th century through its masterful use of light and color. Or contemplating Rembrandt's self-portrait from 1660, a poignant exploration of chiaroscuro revealing the artist’s introspection during a challenging period. The painting’s dramatic use of light and shadow creates a sense of psychological depth, inviting viewers to contemplate the complexities of human experience.

    Preserving Heritage, Embracing Innovation

    Recognizing the importance of accessibility, The Met has embraced innovative technologies to enhance the visitor experience – offering virtual tours, interactive mobile apps, and engaging educational programs. Initiatives like “Met Moments” foster a sense of community among art lovers worldwide, encouraging dialogue and shared interpretation. Furthermore, dedicated conservation laboratories safeguard artworks across its collection, ensuring their preservation for future generations. The museum’s commitment to both preserving the past and engaging with the present ensures that The Met will continue to be a vital center for artistic exploration and appreciation for centuries to come—a timeless sanctuary where creativity transcends boundaries and inspires awe.

    Where to read more

    Find this online

    QR code linking to the download page for Three Studies for Self-Portrait

    wahooart.com/en/art/download/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/

    Cite this artwork

    MLA
    Bacon, Francis. Three Studies for Self-Portrait. 1979, Metropolitan Museum of Art. https://wahooart.com/en/art/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/
    APA
    Bacon, Francis (1979). Three Studies for Self-Portrait [Painting]. Metropolitan Museum of Art. https://wahooart.com/en/art/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/
    Chicago
    Francis Bacon. Three Studies for Self-Portrait. 1979. Metropolitan Museum of Art. https://wahooart.com/en/art/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/
    Harvard
    Bacon, Francis (1979) Three Studies for Self-Portrait. Metropolitan Museum of Art. Available at: https://wahooart.com/en/art/francis-bacon-three-studies-for-self-portrait-D2WDTS-en/

    Look closely

    Three Studies for Self-Portrait — 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. How many faces can you find? ____ (our catalogue counts 3 — do you agree?)
    4. Our catalogue files this work under: self-portrait, darkness, anxiety. Do you agree? What would you add, or take away?
    5. 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.

    Your response

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

    Art quiz

    Three Studies for Self-Portrait — Francis Bacon

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary emotion conveyed by Francis Bacon’s ‘Three Studies for Self-Portrait’?

      • A Joyful contemplation
      • B Quiet serenity
      • C Psychological distress
    2. 2. The dark background in ‘Three Studies for Self-Portrait’ serves to:

      • A Highlight the vibrant colors of the face
      • B Create a sense of claustrophobia and confinement
      • C Provide a neutral backdrop for artistic experimentation
    3. 3. What artistic style is most prominently associated with Bacon’s technique?

      • A Renaissance realism
      • B Impressionism
      • C Expressionism
    4. 4. According to David Sylvester, why did Bacon create self-portraits?

      • A Because he wanted to depict idealized beauty
      • B Because he felt compelled to portray his own face amidst death and loss
      • C Because he sought inspiration from classical sculpture
    5. 5. What is the dominant color used in ‘Three Studies for Self-Portrait’?

      • A Crimson red
      • B Emerald green
      • C Deep black

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3C · 4B · 5C