STUDY FOR PORTRAIT OF JOHN EDWARDS, 1986

  • Study for Portrait of John Edwards, 1986, Francis Bacon

    Study for Portrait of John Edwards, 1986

    Oil, pastel and aerosol paint on canvas, 198 x 147.5cm

    ©The Estate of Francis Bacon, Image reproduced for informational purposes only

    Study for Portrait of John Edwards (1986) captures the calm and warmth that defined Francis Bacon’s relationship with his closest companion in his later years. John Edwards, a young East Ender who became Bacon’s confidant and heir, appears seated within the artist’s familiar, sparse setting, rendered in soft green and blue tones. The restrained palette gives the work a serenity rare in Bacon’s portraits, replacing the violent distortion of earlier figures with a sense of quiet reflection and stability.
     
    Bacon’s brushwork here is fluid and confident, with subtle blurring suggesting movement without chaos. This work reflects the final, more contemplative stage of Bacon’s career, when his depictions of friends carried less tension and more affection. Study for Portrait of John Edwards, 1986, stands as a testament to a relationship built not on turmoil but trust, capturing the fleeting stillness Bacon found at the end of a life defined by intensity and loss.

  • I loathe my own face, and I’ve done self-portraits because I’ve had nobody else to do.

    - Francis Bacon

    John Edwards (1950–2003) was Francis Bacon’s closest friend, muse and eventually the sole heir to his estate. Born in London’s East End, Edwards came from a working-class background and initially had little connection to the art world. He met Bacon in 1974 through mutual friends at a Soho pub, and despite the 40-year age gap, the two formed an immediate and lasting bond. Unlike Bacon’s earlier relationships, which were often volatile and destructive, his friendship with Edwards was marked by warmth, stability and mutual respect.