For an infinitely more exact perception of the artist, one should read closely Bridget Riley’s essay, both an extremely rigorous criticial analysis and a moving account of Seurat’s influence on later generations. The text reveals the image of a modern classic, unless the reverse is true, perfectly in tune with his objective of “showing, like on [the] friezes [of the Parthenon] the moderns in their essence”. A paradox, certainly, but much richer than a starkly determined position. Finally, the exhibition can be termed successful in this sense, reflecting the hang in the museum : it raises questions for those willing to ask them. After all, what does it matter if the organizers did not think of doing so ?
These same debates can be applied to another of Bacon’s pictures at the 1949 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’t possess the isolation that one thinks of in connection with Bacon’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 1961.
George is described as physically small with very sharp features, an opposite to Lennie Small . Milton is the last name of the author of one of Steinbeck 's favorite works, Paradise Lost . In that epic poem, Adam and Eve fall from grace in the Garden of Eden. Because of their fall, mankind is doomed to be alone and walk the earth as a lonely being. Some critics believe George represents that doomed man who longs to return to Eden. His one chance to avoid that fate is his relationship with Lennie, which makes them different from the other lonely men. But despite this companionship, at the end of the book, George is fated to be once again alone.