Crude, sculptural, visceral and even dramatically solitary. But, above all, figurative. The painting of the so-called London School. the group of artists gathered around Francis Bacon and Lucian Freud that, from after the Second World War, moved against the minimal-conceptual tendencies taking hold on the other side of the Atlantic. “I want the paint to work as flesh does”, said Freud, and there is no better way to describe his portraits of Leigh Bowery or a painting such as Sleeping by the Lion Carpet. Less inclined to the painting of exactness, but as connected to nude human reality, Francis Bacon looked at art as an obsession for life, to be followed relentlessly, without rhetoric or artifice. With around 100 works, the Tate Britain pays homage to two masters, opening its gaze on a heterogenous artistic galaxy for style and choice of subject, held together by an unyielding interest in the human form and the reality of humanity. The Portrait of Isabel Rawsthorne and the Study after Velasquez by Bacon, vibrant with life despite being based on photos by John Deakin, meet rare works by Frank Auerbach and Paula Rego, but also works from the preceding generation of painters including Walter Sickert and David Bomberg, who deeply influenced art in the years to come.