Julian Bell in the New York Review of Books:
Bacon’s continued hold on the meaning of his own art is quite distinctive. If you turn to his initial artistic inspiration, Picasso—or for that matter to that other great post-Picasso painter, Jackson Pollock—you meet artists who habitually, for most of their careers, refused to offer verbal sops to interpretation. Writers on Picasso and Pollock contradict one another vigorously and incessantly; when it comes to Bacon, the commentariat is docile and orthodox. What is it that engenders this pattern of viewer behavior?