Francis Bacon’s painting is of a very special violence. Bacon, to be sure, often traffics in the violence of a depicted scene: spectacles of horror, crucifixions, prostheses and mutilations, monsters. But these are overly facile detours, detours that the artist himself judges severely and condemns in his work. What directly interests him is a violence that is involved only with color and line: the violence of a sensation (and not of a representation), a static or potential violence, a violence of reaction and expression. For example, a scream rent from us by a foreboding of invisible forces: “to paint the scream more than the horror…” In the end, Bacon’s Figures are not racked bodies at all, but ordinary bodies in ordinary situations of constraint and discomfort. A man ordered to sit still for hours on a narrow stool is bound to assume contorted postures. The violence of a hiccup…