The superb new exhibition at the Royal Academy, Francis Bacon: Man and Beast, is not a retrospective. Nonetheless it is one of the most revealing presentations of this great painter’s work I have ever seen. It follows one of the most important of the chains of thought and feeling that ran through his art — animality: the beastliness in humanity, and the humanity of beasts.
He was a great master of the feral. ‘Man with Dog’ (1953) depicts a creature with which it would be hazardous to tangle: a blurred, slathering smear with just a hint of Cerberus, the ancient guardian of Hades. Just below its paws is the gutter, with a drain opening downwards into the earth. So this is an utterly, even squalidly naturalistic picture, but with distinct overtones of something else, which you might call metaphorical, or even metaphysical. The image was derived from photographs of a walking mastiff by Eadweard Muybridge, a favourite source of Bacon’s.
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