From the British writer’s memoir, Miracles of Life: Shanghai to Shepperton
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Francis Bacon, Study after Velazquez’s Portrait of Pope Innocent X (1953)

In 1955 there was a modest retrospective of Francis Bacon’s paintings at the Institute of Contemporary Arts, followed in 1962 by a far larger retrospective at the Tate Gallery, which was a revelation to me. I still think of Bacon as the greatest painter of the post-war world. […]

Bacon’s paintings were screams from the abattoir, cries from the execution pits of World War II. His deranged executives and his princes of death in their pontiffs’ robes lacked all pity and remorse. His popes screamed because they knew there was no God. Bacon went even further than the surrealists, assuming our complicity in the mid-century’s horrors. It was we who sat in those claustrophobic rooms, like TV hospitality suites in need of a coat of paint, under a naked light bulb that might signal the arrival of the dead, the only witnesses at our last interview. (more…)