Triptych, May–June 1973 is a triptych completed in 1973 by the Irish-born artist Francis Bacon (1909–1992). The oil-on-canvas was painted in memory of Bacon's lover George Dyer, who committed suicide on the eve of the artist's retrospective at Paris's Grand Palais on 24 October 1971. The triptych is a portrait of the moments before Dyer's death from an overdose of pills in their hotel room. Bacon was haunted and preoccupied by Dyer's loss for the remaining years of his life and painted many works based on both the actual suicide and the events of its aftermath. He admitted to friends that he never fully recovered, describing the 1973 triptych as an exorcism of his feelings of loss and guilt.

The work is stylistically more static and monumental than Bacon's earlier triptychs of Greek figures and friends' heads. It has been described as one of his "supreme achievements" and is generally viewed as his most intense and tragic canvas. Of the three Black Triptychs Bacon painted when confronting Dyer's death, Triptych, May–June 1973 is generally regarded as the most accomplished. In 2006, The Daily Telegraph's art critic Sarah Crompton wrote that "emotion seeps into each panel of this giant canvas ... the sheer power and control of Bacon's brushwork take the breath away". Triptych, May–June 1973 was purchased at auction in 1989 by Esther Grether for $6.3 million, then a record for a Bacon painting.

Francis Bacon met George Dyer in a Soho pub. According to Bacon "George was down the far end of the bar and he came over and said 'You all seem to be having a good time, can I buy you a drink?'" (Francis Bacon quoted in: Michael Peppiat, Francis Bacon: Anatomy of an Enigma, London 2008, p. 259). From that point on, Dyer became devoted to Bacon. He admired his intellect and power and was in awe of his self-confidence. He felt as if he had found a purpose, as the prominent artist's companion. Dyer was then about thirty years old and had grown up in the East End of London in a family steeped in crime. He had spent his life drifting between theft, juvenile detention center and jail. Typical of Bacon's taste in men, Dyer was fit, masculine, and not an intellectual.

Bacon's relationships prior to Dyer had all been with older men who were as tumultuous in temperament as the artist himself, but each had been the dominating presence. Peter Lacy, his first lover, would often tear up the young artist's paintings, beat him up in drunken rages, and leave him on the street half-conscious. Bacon was attracted to Dyer's vulnerability and trusting nature. Dyer was impressed by Bacon's self-confidence and his artistic success, and Bacon acted as a protector and father figure to the insecure younger man. Dyer was, like Bacon, a borderline alcoholic and similarly took obsessive care with his appearance. Pale-faced and a chain-smoker, Dyer typically confronted his daily hangovers by drinking again. His compact and athletic build belied a docile and inwardly tortured personality; the art critic Michael Peppiatt described him as having the air of a man who could "land a decisive punch". Their behaviours eventually overwhelmed their affair, and by 1970, Bacon was merely providing Dyer with enough money to stay more or less permanently drunk.

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