Three Studies of Muriel Belcher 1966

Francis Bacon’s unsettling "Three Studies of Muriel Belcher" captures the raw essence of human existence. The distorted faces, rendered in violent strokes, immediately recall the grimacing masks of ancient Greek tragedy. These masks were not merely theatrical props, but vessels of primal emotion, amplifying the inner turmoil of the characters. In Bacon's portraits, the grotesque visages serve a similar function, laying bare the psychological weight of Belcher’s persona. The deconstruction of the face echoes the 'anguish' expressed in many artworks from different times. This sense of distortion can be traced back to the 'pathos formulas' seen in Hellenistic sculpture, where exaggerated expressions conveyed intense suffering or ecstasy. Consider the Laocoön Group, whose writhing figures embodied agony and despair. Bacon's genius lies in his ability to tap into this collective memory, channeling subconscious fears and anxieties through paint. His portraits are modern-day masks, reminding us of our shared mortality and the fragility of the human form.