Francis Bacon's art in the 1940s emerged against the backdrop of a Britain devastated by World War II, showcasing a bold vision that reflected the era's violence and destruction. His work from this period is significantly marked by the theme of the crucifixion, an enduring motif in his oeuvre, which he revisited throughout his career. The scream, a recurrent element drawn from various sources, including Sergei Eisenstein's film Battleship Potemkin, embodies the existential angst and turmoil of the time, encapsulating Bacon's preoccupation with human suffering and vulnerability. His figures, often depicted screaming, crouched beneath umbrellas, or enclosed within cage-like structures, blur the lines between human and animal forms, suggesting a deeper interrogation of the human condition​ (Art Gallery of NSW)​. The 1940s were pivotal for Bacon, not just in terms of thematic development but also in establishing his reputation. The exhibition of "Three Studies for Figures at the Base of a Crucifixion" in 1945 marked a significant moment, drawing public and critical attention. The three grey figures set against a stark orange background captured the collective consciousness of a war-ravaged society, eliciting a strong reaction that ranged from shock to acclaim. This work, in particular, was seen as a stark departure from the prevailing trends of the time and solidified Bacon's place as a unique voice in contemporary art​ (Francis Bacon)​. Bacon's engagement with the crucifixion series and the depiction of the male nude towards the decade's end signaled a move towards exploring eroticism and a surprising tenderness that would characterize some of his later works. His exploration of the boundaries between human and animal, combined with a focus on the male form, revealed not only his technical prowess but also his deep exploration of themes related to identity, form, and the existential dilemmas of human existence​ (Art Gallery of NSW)​. Throughout the 1940s, despite the challenges and destruction of the era, Bacon's work demonstrated a profound engagement with the human psyche, a fascination with form, and a relentless questioning of the human state, themes that would continue to define his oeuvre in the decades to follow.