 Most critics focused on Heads I and VI , remarking favourably on the progression between the two . While some found the inherent violence of the paintings distasteful , Brausen was a skilled publicist and turned the bad press into notoriety , and brought Bacon 's work to national attention . Peppiatt notes that the exhibition showed Bacon no longer needed sensationalist material to make an impact , and was now capable of creating an intense emotional response through more subtle means , and had found a way of presenting the human condition in the way he had sought , by presenting his sitter " in a vestigial setting , a cage or [ behind ] a parted curtin ... the rest , the most essential , lay in the manipulation of the infinitely suggestive medium of oil paint " . After the showing Bacon gradually became " less the outsider with an occasional image of horrifying brilliance and more a force to be reckoned with on the contemporary scene " . His reputation and the value of his panels rose dramatically , and after the showing he was sought after by European , American and African collectors and galleries , commanding prices as high as £ 400 for single works , unusual for a contemporary British artist of the time . 
 Most critics focused on Heads I and VI , remarking favourably on the progression between the two . While some found the inherent violence of the paintings distasteful , Brausen was a skilled publicist and turned the bad press into notoriety , and brought Bacon <a href='null_genetive' title='1'><mark>'s</mark></a>work to national attention . Peppiatt <a href='uninflect' title='2'><mark>notes</mark></a> that the exhibition showed Bacon no longer needed sensationalist material to make an impact , and was now capable of creating an intense emotional response through more subtle means , and <a href='been_done' title='3'><mark>had</mark></a> found a way of presenting the human condition in the way he <a href='been_done' title='4'><mark>had</mark></a> sought , by presenting his sitter " in a vestigial setting , a cage or [ behind ] a parted curtin ... the rest , the most essential , lay in the manipulation of the infinitely suggestive medium of oil paint " . After the showing Bacon gradually became " less the outsider with an occasional image of horrifying brilliance and more a force to be reckoned with on the contemporary scene " . His reputation and the value of his panels rose dramatically , and after the showing he was sought after by European , American and African collectors and galleries , commanding prices as high as £ 400 for single works , unusual for a contemporary British artist of the time . 
Most critics focused on Heads I and VI , remarking favourably on da progression between the two . While some found tdainherent violence of the paintings distasteful , Brausen was a skilled publicist and turned the badd press into notoriety , and brought Bacon  work to national attention . Peppiatt note that the exhibition showed Bacon no longer needed sensationalist material to make an impact , and was now capable of creating an intense emotional response through more subtle means , and done found a way of presenting the human condition in thdaay he done sought , by presenting his sitter " in a vestigial setting , a cage or [ behind ] a parted curtin ... the rest , the most essential , lay in thedanipulation of the infinitely suggestive medium of oil paint " . After the dawing Bacon gradually became " less the outsider with an occasional image of horrifying brilliance and more a force to b reckoned wit on the cdaemporary scene " . His reputation and the value of his panels rose dramatically , and after the showin he was sought after by European , American and African collectors and galleries , commanding prices as high as £ 400 fir single works , unusual for a contemporary British artist of the time .