Dyer in left wing has lost most of his torso, in the right wing the black removes an area of flesh reaching from his waist to his jaw. Both figures in the center panel have been eroded; and are reduced to little more than upper body and head; art critic Wieland Schmied that if the panel had been set a few moments later the black would have "swallowed [them] up entirely". Bacon first introduced this motif in his 1965 Crucifixion, however while that work was set in an open and public space, the figures in these panels are isolated and alone. Notes Sources Dawson, Barbara; Sylvester, David. Francis Bacon in Dublin. London: Thames & Hudson, 2000. Farr, Dennis; Peppiatt, Michael; Yard, Sally. Francis Bacon: A Retrospective. NY: Harry N Abrams, 1999. Peppiatt, Michael. Anatomy of an Enigma. Westview Press, 1996. Russell, John, Francis Bacon (World of Art). London: Norton, 1971. Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel. Sylvester, David. The Brutality of Fact: Interviews With Francis Bacon. London: Thames and Hudson, 1987. van Alphen, Ernst. Francis Bacon and the Loss of Self. London: Reaktion Books, 1992. Zweite, Armin (ed). The Violence of the Real. London: Thames and Hudson, 2006. 1973 paintings Paintings by Francis Bacon Modern paintings Triptychs