science

Study for a Self-Portrait—Triptych, 1985–86

Study for a Self-Portrait—Triptych, 1985–86 is a science topic covered in the lgStudy science library. This page brings together a partial reference excerpt, illustrations, worked examples, real-world applications and a short study plan, so you can understand Study for a Self-Portrait—Triptych, 1985–86 rather than just read about it. In short: Study for a Self-Portrait—Triptych, 1985–86 is a triptych painted between 1985 and 1986 by the Irish-born English artist Francis Bacon. It is a brutally honest examination of the effect of age and time on the human body and spirit and was painted in the aftermath of the deaths of many of his close friends.

Key takeaways

Study for a Self-Portrait—Triptych, 1985–86 belongs to science; place it in that map before memorising details.
Learn the definition first, then one example that makes the definition concrete.
Connect Study for a Self-Portrait—Triptych, 1985–86 to a quantity you can measure, compute or draw — that is where exam questions come from.
Reproduce the core statement of Study for a Self-Portrait—Triptych, 1985–86 from memory before moving on to harder problems.

Reference excerpt

Study for a Self-Portrait—Triptych, 1985–86 is a triptych painted between 1985 and 1986 by the Irish-born English artist Francis Bacon. It is a brutally honest examination of the effect of age and time on the human body and spirit and was painted in the aftermath of the deaths of many of his close friends. It is Bacon's only full-length self-portrait, and was described by art critic David Sylvester as "grand, stark, ascetic". The triptych is widely considered a masterpiece and one of Bacon's most personal works, but is one of his least experimental and most conventional paintings. Bacon believed that the fatigue of old age and the complications of fame led him to appreciate simplicity as a virtue of its own, a sentiment which he attempted to transfer into his work.

Description The painting is built up from very even and smooth brush strokes, using mostly brown, cream, white and black colours, except around the faces. Bacon is ill-at-ease in each panel, seated cross-legged with his hands around his knees, though in the centre panel, one arm rests on the chair arm. The descriptions are based on passport photographs; he never used a mirror for these works, claiming that he hated the sight of his own face, especially close up, and more as he got older. This is reflected in the current work; in the left and centre panels, large parts of his head have disintegrated or are missing. He explained to Sylvester that he continued "painting it [his face] because I haven't any other people to do...One of the nicest things Jean Cocteau said was 'each day in the mirror I watch death at work.' That is what one does to oneself".

Themes

Several of Bacon's closest friends had died in the years before he began the triptych, and their loss is evident in the triptych's sorrowful, mournful atmosphere. In 1979 Muriel Belcher, proprietor of Soho's Colony Room, died and in 1981 Bacon's youngest sister Winifred died. During the 1970s, he lost many of his friends, including his long-term lover George Dyer. In an interview with Sylvester in the early 1980s, Bacon admitted his friends had been "dying around me like flies and I've had nobody else to paint but myself ... I loathe my own face, and I've done self-portraits because I've had nothing else to do". Formally, the work departs from Bacon's usual style, but in many ways, it can be considered as an extension of themes explored in his early-1970s Black Triptychs. It may be more symmetrically refined, not as raw and has smoother edges, while it places the figures more centrally; previous triptychs typically positioned the figures unequally, typically slightly towards the edges so as to unnerve the viewer. The three panels share a cool, light-brown surface, while the figures are unusually diminished in size. Before this work, his heads were characterised by broad, almost wanton, brushstrokes. There were even instances, notably in his mid-1960s portraits of Lucian Freud, where the whole head was depicted with a single stroke. In the 1985 triptych, he abandons that approach, building the self-portraits from tight and very fine brush strokes. Instead, Bacon chooses to focus on disintegration; the skulls are blood-spattered, with bone and blood flying out of them. Study for a Self-Portrait continues a painterly motif that Bacon began early in his career: a spatially uniform and simple background (although the back line is curved in the centre panel, a device generally only seen in much later work). Here, the figures are held together by pairs of vertical blinds in the background of each frame. In contrast to most of Bacon's work, this background references contemporary art, drawing on the stillness of Barnett Newman's Voice (1950), while the elegance of the figures echoes Henri Matisse's Music. While Bacon's earlier work often hid the figures behind veils or other concealing devices, the 1985 triptych leaves nothing hidden. His mid-career reduced portraits of friends to broad brush strokes cast with an almost drunken abandon, but the 1985 triptych is precise and reduced. In this respect, the triptych can be read as the artist retreating into the academic finesse against which he once raged. The technique also evokes the background details of his seminal early-1970s Black Triptych series.

See also List of paintings by Francis Bacon

References

Sources

External links 1996 Daily Telegraph article

Illustrations

Study for a Self-Portrait—Triptych, 1985–86: Self-Portrait, 1973 — Self-Portrait, 1973

Worked examples

Example 1 — a first encounter with Study for a Self-Portrait—Triptych, 1985–86

Start with the simplest possible case. Write down what Study for a Self-Portrait—Triptych, 1985–86 claims or describes in one sentence, then invent the smallest concrete situation in which that sentence is true. In science, the smallest case is usually a single object, a single equation or a single measurement. Check that every symbol or term in your sentence has a meaning in that case.

Example 2 — changing one variable

Take the situation from Example 1 and change exactly one quantity: double it, halve it, or set it to zero. Predict what should happen to Study for a Self-Portrait—Triptych, 1985–86 before you calculate. Comparing your prediction with the result is the fastest way to find out whether you understand the idea or only the words.

Example 3 — an exam-style question

Typical questions about Study for a Self-Portrait—Triptych, 1985–86 ask you to (a) state it precisely, (b) apply it to given data, and (c) explain a limitation. Practise writing all three answers in under five minutes; the third part is what separates a full-mark answer from an average one.

Applications of Study for a Self-Portrait—Triptych, 1985–86

In research: Study for a Self-Portrait—Triptych, 1985–86 appears in science research whenever the underlying quantities have to be modelled precisely. Papers usually cite it as a starting assumption and then explore where it breaks down.
In technology and industry: Engineering practice reuses Study for a Self-Portrait—Triptych, 1985–86 in design rules, simulations and safety margins. Knowing the idea lets you read a specification sheet and understand why the numbers look the way they do.
In the classroom: Study for a Self-Portrait—Triptych, 1985–86 is common in secondary-school and first-year university syllabi. It links to neighbouring topics 1986 paintings, 20th-century portraits, Paintings by Francis Bacon, so understanding it makes those chapters shorter.
In everyday life: Look for Study for a Self-Portrait—Triptych, 1985–86 outside the textbook — in sport, cooking, traffic, electronics or the sky above you. An example you found yourself is remembered far longer than one you were given.

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How to study Study for a Self-Portrait—Triptych, 1985–86 in 20 minutes

Read the reference excerpt below once, without taking notes.
Close the page and write down what Study for a Self-Portrait—Triptych, 1985–86 means in your own words.
Compare your version with the excerpt and mark what you missed.
Work through the three examples above with pen and paper.
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Frequently asked questions

What is Study for a Self-Portrait—Triptych, 1985–86 in simple terms?

Why does Study for a Self-Portrait—Triptych, 1985–86 matter?

Because it connects several science ideas at once: it gives you a definition you can apply, a quantity you can calculate, and a way to check whether a result is plausible.

How should I study Study for a Self-Portrait—Triptych, 1985–86?

Read the excerpt, restate it from memory, then work through the examples and applications listed on this page. The five-step study plan above takes about twenty minutes.

What does this page cover?

It gives you a compact reference excerpt plus original lgStudy explanations, examples, applications and study material on Study for a Self-Portrait—Triptych, 1985–86.