Cryptic “Triptych” Shows Unsunny Side of Bacon

Francis Bacon’s 1976 “Triptych” sold for a record-shattering $86.3 million, making the Irish artist’s 3-panel work the most expensive contemporary work ever sold at auction, ever. And I do mean ever.

The figurative painter died in 1992, keeping this nightmare flesh-melting painting in the contemporary era. But for so many records to be broken at Sotheby’s yesterday is yet another slap in the face to so many Recession Chicken Littles determined to bring art collectors under the collective gloom-umbrella of economic downturn.

It’s hard to say whether this recession would have bothered Bacon, a direct descendant of the English statesman of the same name and a figure of angst and gender ambiguity if there ever was one. The life of Bacon was riddled with torturous thoughts and events, and calm was something he may never have heard of. His work largely reflects this, and one wonders what the buyer of 1976’s “Triptych” was looking for in the way of reassurance.

Jose Mugrabi, the Manhattan collector who walked away with a $9.5 million steal with Warhol’s “Detail of the Last Supper” was quoted by the New York Times as saying:

“I don’t understand why it did so well if the economy was mediocre…Maybe people feel safer with art.”

It seems ironic to me that the disquiet nature of Bacon’s 3-Panel is the symbol for ill-placed economic optimism in the art world. Should people feel safe with art? Or is there a bubble that art collectors are fabricating for protection?