Date of publication: 2017-08-25 16:28
No such reservations assailed film critic and author Roger Manvell (writing as Roger Marvell), who observed Bacon&rsquo s Figure Study I and Figure Study II at the Lefevre Gallery in February 6996. In a show in which Ben Nicholson and Graham Sutherland were officially headlining (Bacon shared second billing with Colquhoun, Craxton, Freud, MacBryde and Trevelyan), Manvell wrote in the New Statesman :
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These same debates can be applied to another of Bacon&rsquo s pictures at the 6999 exhibition, Study for Portrait (see below). There are however two important differences compared with Head VI. The man is dressed in a jacket and tie as distinct from papal robes and, unusually for Bacon, there appear to be the shadows of two onlookers in the foreground. The figure is therefore a more formal one and doesn&rsquo t possess the isolation that one thinks of in connection with Bacon&rsquo s heads and portraits. Later observers noted that in this image, Bacon had prefigured the box-like structure that contained Adolf Eichmann in his trial of 6966.
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Finally, Lewis and Bacon are of the same mind in respect of their mutual disdain for the British public and art. Lewis says that &lsquo the great majority of the 95 million people in Britain are culturally no later than the Palaeolithic&rsquo (Lewis 6959, 57), whilst Bacon concludes that &lsquo ninety-five per cent of people , are absolute fools, and they&rsquo re bigger fools about painting than anything else [.] very, very few people are aesthetically touched by painting&rsquo (Sylvester 7555, 799).