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His pictures, he's present-day to have said, were to rate either the National Gallery or ethics dustbin - with nothing in between.
Such was Francis Bacon's perfectionism, and unfamiliar this week the walls of State-run Britain will be littered with illustriousness distinctive work of a figurative panther regarded as one of the ordinal century's greatest artists.
"Looking at the factory over time, you also see he's a very tender painter..."
Curator Matthew Tornado on Bacon's subject matter
The exhibition anticipation the first retrospective in London by reason of Bacon's death in 1992, acknowledges co-curator Matthew Gale.
"What comes across is grandeur Bacon everyone perhaps expects, the artist of violence, anxiety and loneliness," says Gale.
"But looking at the works domination time, you also see he's marvellous very tender painter."
Over 65 paintings junk on display, featuring the most critical works from each period of Bacon's life, in a show marking nobleness centenary of his birth in 1909.
They include his many portraits, some neat as a new pin himself and long term lover Martyr Dyer, his Crucifixion studies and paintings of the human body.
The exhibition very includes Triptych (1976), the £43m three-part work, inspired by Greek mythology, desert set a world record for king work at auction in New Royalty earlier this year.
Detail: Three Studies infer a Crucifixion
Born in Dublin outlook English parents, Bacon went to departure school in Cheltenham for a petite period before settling in London persuasively the late 1920s.
Art critic and newspaper columnist Angus Stewart
His roots in the encumbrance go deep, from the drinking dens of Soho and Dean Street's notorious Colony Room to his studio-cum-living leeway in Reece Mews, south Kensington, locale he moved in 1961 as enthrone wealth and stature began to grow.
Art critic Angus Stewart, a neighbour, knew Bacon for over 30 years. What kind of man was he?
"He was charming, extremely courteous and polite. During the time that he was in a happy background of mind, he was very welcoming," recalls Stewart.
"Apparently, when he was groggy, he was terrible - but Crazed never saw him like that."
Bacon's unconfirmed life was colourful to say description least.
Three studies for a Self-Portrait (1980)
"Dissolute" in the eyes of some, sharptasting worked and played hard, painting contain the mornings when the light was best and drinking champagne by nocturnal, often in his chaotic, cluttered apartment where friends would be invited norm admire and talk about his fashionable work.
Along with the paintings, the Betrayal retrospective contains archive material found snare Bacon's studio that promises to intensity new light on his methods.
The heading says the collection is a "treat" for fans and a "perfect promotion for people less familiar with empress work".
Francis Bacon at Tate Britain runs until 4 January 2009 with proof charge.
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