Aggressive, tormented by a deep sorrow, iconoclastic. Francis Bacon, with a cut violent neo-expressionist, had collected the Scream by Munch projecting it into the twentieth century disintegration of bodies and souls, committed to nothing. This pain no chance to rest, and the consummation of the figure, which becomes part and monstrous, hit by the breakup, the abyss becomes an expression of the Abyss century.
Bacon shows, in a period dominated by the art or abstract colored consumerism of pop art, the figure at the observation center and grasps a phenomenon that he believes irreversible: the human decay – which is not only decadence – comparing it often , with the human titanism of Renaissance and post-Renaissance painting. Of particular interest, as we shall see in the movie, it is the British painter technique that becomes an act of blatant revelation of his every thought.
He chooses or take photographs that spoils, accounts, submit to a consummation ritual cannibal; violently that prefigures, in abraded sheet, scarred and wrinkled, the development of the paint layer cakes that excess, creating a mass fleeing of shape or is fractured from cuts or lacerations. The direction is very clear, as nell’Urlo Munch: the loss of the sense, the collapse of the supernatural, the panic and the horror of existence, but at the same time, in Bacon, nostalgia and hatred against an age in which man was at the center of the Vitruvian circle.
Francis Bacon – Study after Velázquez’s Portrait of Pope Innocent X by Velázquez (1953)