Francis Bacon- Human Presence review – ‘This whirligig of horrors is the best Bacon show I’ve ever seen’

**An Interview with Jonathan Jones on the Francis Bacon Exhibition at the National Portrait Gallery**

**Interviewer:** Jonathan, your recent review of the Francis Bacon exhibition at the National Portrait Gallery was quite striking. What are your thoughts on how Bacon portrays mortality through his art?

**Jonathan Jones:** Absolutely. Bacon’s work has a hauntingly unique approach to showcasing humanity’s fragility. His distorted figures, especially in pieces like *Study of the Human Head*, compel viewers to confront the fine line between life and death. The portrayal of teeth serves as a chilling reminder of mortality, presenting a grin that resembles more of a skull’s smile than that of a living person. It’s almost as if he strips away the layers of a person’s identity, revealing their essence—often leading to discomfort for the audience.

**Interviewer:** You referred to this exhibition as the best Bacon showcase you’ve ever experienced. What distinguishes it from others?

**Jonathan Jones:** This exhibition, titled “Human Presence,” brilliantly navigates both Bacon’s grotesque modernity and the universal elements of the human experience. It starts with a gentle self-portrait and then plunges into those haunting images of men from the late 1940s and 1950s, exposing their hollow interiors and screams. It feels raw and visceral, hitting you like a punch to the gut.

**Interviewer:** You discuss the emotional impact of Bacon’s work, noting that many of his subjects felt “injured” by his portrayals. How do you interpret that?

**Jonathan Jones:** Bacon was acutely aware of the pain his paintings could evoke. Take *Study for a Portrait*, for instance; the figure is missing the top of his head and his features morph into something almost animalistic. This goes beyond merely depicting a person; it’s a reflection of their inner turmoil. The sense of injury is profound—Bacon captures the chaos inherent in human existence. His subjects are often vulnerable, reflecting the devastation prevalent in their times.

**Interviewer:** You mentioned that historical context influences Bacon’s work. Can you expand on that?

**Jonathan Jones:** Certainly. Bacon painted during an era marked by unimaginable loss, particularly in the aftermath of World War II. His perspective was unique, unbound by rigid beliefs, enabling him to confront the darkest realities of humanity. For instance, his *Portrait of a Man With Glasses III* depicts a character that feels more like an empty vessel, embodying the scars left by his time.

**Interviewer:** What about the personal and sometimes tumultuous relationships in Bacon’s life? How do they inform his art?

**Jonathan Jones:** Bacon’s relationships, especially with figures like his lover Peter Lacy, are key to understanding his art. *Sleeping Figure* encapsulates tenderness, yet there’s a sinister undercurrent. Their relationship was complex and often volatile; you can feel Bacon’s painful submission in his work. His later pieces, particularly the *Triptych May-June 1973*, starkly convey this. Following Lacy’s tragic death, the triptych expresses raw despair, capturing Dyer not just as a memory but as an overwhelming absence.

**Interviewer:** Finally, how does this exhibition resonate with contemporary audiences?

**Jonathan Jones:** This exhibition is timeless; it’s not just a testament to Bacon as an artist but also a deep exploration of the human condition. His work challenges viewers to confront uncomfortable truths. It serves as a visceral reminder that despite tragic narratives, the complexities of human existence are worthy of examination and compassion. *Francis Bacon: Human Presence* invites us to reevaluate our own lives through the lens of suffering, vulnerability, and, ultimately, the fragility of life. It opens on October 10th and runs until January 19th—a must-see for anyone eager to engage with art on a deeper level.