1. Three Studies for a Portrait of George Dyer (1963) is Bacon's earliest portrait of his favorite model and companion. It includes to what Bacon once referred as pictorial "injury." The painter declared in 1966, "I've always thought of friendship as where two people really tear one another apart and perhaps in that way learn something from each other."
2. A visual reminder of man's vulnerability and isolation in the central panel of Triptych May-June 1973 or, as Bacon already noted in 1962, "man now realizes that he is an accident, that he is a completely futile being, that he has to play out the game without reason."
5. Depicted now as a fallen boxer, Dyer looks much better in Triptych 1971 than in any of the Studies Bacon painted in 1963, when he was still alive (Fig. 1). "Waldo is one of those people who would be enormously improved by death." - Saki (Hector Hugh Munro), "The Feast of Nemesis," Beasts and Super-Beasts, 1914
Addendum. Bacon and Edwards, London, 1985. Their companionship is said to have been a father and son relationship. "Francis was a real, true father to me," Edwards told The Daily Telegraph in 2002. Yet, a photograph published by Daniel Farson in 1993-4 suggests otherwise, adding spice to gossip.
References: 1. "Francis Bacon: Touching the Void" (video), The Times Online, 9 September 2008; 2. Louise Cohen, "Francis Bacon at Tate Britain," ibid.