This work is typical of Bacon’s paintings of the 1960s. The body and its surroundings are painted thinly with rapid strokes, while the face is heavily worked. This layered and scraped area of paint creates the distortion of the face, so often associated with Bacon’s work.In contrast to Bacon’s paintings showing figures in extreme situations, the emotive power of this work stems in part from the contrast of the figure’s distortion and isolation with the mundane domesticity of its setting.