Meat Eater.

Francis Bacon, Painting, 1946. Oil on linen. 198cm × 132 cm. Museum of Modern Art

Gilles Deleuze, "The Body, the Meat and the Spirit: Becoming Animal."

Originally published as Le Corps, la Viande et l'Esprit, le Devenir-animal in Francis Bacon (Paris: Editions de la Diffèrence, 1981) Ppg. 19-22. English edition: in Tracy Warr (ed.) The Artist's Body, Trans. by Liz Heron. (Phaidon Press: London, 2000) Ppg. 197.

___Instead of formal correspondences, what Bacon's painting constitutes is a zone of the indiscernible, of the undecidable, between man and animal. Man becomes animal, but he does not become so without the animal simultaneously becoming spirit, the spirit of man, the physical spirit of man presented in the mirror as Eumenides or fate. This is never a combination of forms, it is rather a common fact: the common fact of man and animal.

___... [T]he mouth acquires that power of de-localization which turns all of the meat into a head without a face. It is no longer a specific organ, but the hole through which the entire body escapes, and through which the flesh drops (what is required for this procedure of loose involuntary marks). What Bacon calls 'the scream' is the immeasurable pity which extends to the meat.