Infrared analysis of this work revealed magenta horseshoe shapes originally meant to be flowers at the feet of the central figure. Forty-four years after the original, this work's artist made a "Second Version" twice as big as the original which has the central figure surrounded mostly by an off-white background. In the original, one wall on the right side does not match up with the rest of the perspective. One figure has five bulging ribs and a wide open mouth, and is standing with one thin leg upon a spiky outgrowth f
Infrared analysis of this work revealed magenta horseshoe shapes originally meant to be flowers at the feet of the central figure. Forty-four years after the original, this work's artist made a "Second Version" twice as big as the original which has the central figure surrounded mostly by an off-white background. In the original, one wall on the right side does not match up with the rest of the perspective. One figure has five bulging ribs and a wide open mouth, and is standing with one thin leg upon a spiky outgrowth from the floor. Another figure is sitting on a table looking away with shoulders jutting out, and is the only one in this work with hair or clothes. The central figure is accompanied by a small table, but is not sitting on it. That figure has a blindfold on with pieces of cloth hanging down, despite not having any eyes. Its mouth is based on a scene from The Battleship Potemkin, and all of the figures have elongated necks and gray bodies, while the rest of the painting is in red. Later related to depict the Furies, for 10 points, name this triptych by Francis Bacon.
Infrared analysis of this work revealed magenta horseshoe shapes originally meant to be flowers at the feet of the central figure.
{Three Studies} for Figures at the {Base} of a {Crucifixion}