 The glass cage might imply a vacuum that the figure 's voice is unable to escape ; as if it is screaming in silence . Rueful later in life , Bacon said that he had " wanted to paint the scream more than the horror . I think , if I had really thought about what causes somebody to really scream , it would have made the scream ... more successful " . The work evokes memories of the Second World War . The glass enclosure of his 1949 Chicago Study for a Portrait is often seen as prophesying photographs of Adolf Eichmann 1961 trial before a Jerusalem District Court , when he was held within a similar cage . Bacon strongly resisted literal comparisons though , and stated that he used the device so he could frame and " really see the image – for no other reason . I know it 's been interpreted as being many other things . " Other critics saw similarities between the glass case and the radio booths of late 1930s broadcasters who warned against the impending calamity . Denis Farr notes that Bacon was sympathetic to George Orwell and referred in interviews to Orwellian " shouting voices ... and trembling hands ... convey [ ing ] the harsh atmosphere of an interrogation . " 
 The glass cage might imply a vacuum <a href='null_relcl' title='1'><mark>that</mark></a>the figure <a href='null_genetive' title='2'><mark>'s</mark></a>voice <a href='drop_aux' title='3'><mark>is</mark></a>unable to escape ; as if it is screaming in silence . Rueful later in life , Bacon said that he <a href='been_done' title='4'><mark>had</mark></a> " wanted to paint the scream more than the horror . I think , if I <a href='been_done' title='5'><mark>had</mark></a> really thought about what <a href='uninflect' title='6'><mark>causes</mark></a> somebody to really scream , it would <a href='been_done' title='7'><mark>have</mark></a> made the scream ... more successful " . The work <a href='uninflect' title='8'><mark>evokes</mark></a> memories of the Second World War . The glass enclosure of his 1949 Chicago Study for a Portrait is often seen as prophesying photographs of Adolf Eichmann 1961 trial before a Jerusalem District Court , when he was held within a similar cage . Bacon strongly resisted literal comparisons though , and stated that he used the device so he could frame and " really see the image – for no other reason . I know it 's been interpreted as being many other things . " Other critics saw similarities between the glass case and the radio booths of late 1930s broadcasters <a href='null_relcl' title='9'><mark>who</mark></a>warned against the impending calamity . Denis Farr <a href='uninflect' title='10'><mark>notes</mark></a> that Bacon was sympathetic to George Orwell and referred in interviews to Orwellian " shouting voices ... and trembling hands ... convey [ ing ] the harsh atmosphere of an interrogation . " 
Da glass cage mite imply a vacuum the figure  voice unable to escape ; as if it is screaming in silence . Rueful later in life , Bacon said dat he done " wanted to paint the scream more than tdahorror . I think , if I done really thought bout what cause somebody to really scream , it would done made the scream ... more successful " . The work evoke memories of the Second World War . The glass enclosure of his 1949 Chicago Study for a Portrait is often seen as prophesying photographs of Adolf Eichmann 1961 trial before a Jerusalem District Court , when he was held within a similar cage . Bacon strongly resisted literal comparisons tho , and stated that he used thdaevice so he could frame and " really see thedaage – for no other reason . I know it 's been interpreted as being many other things . " Other critics saw similarities between the glass case and the radio booths of late 1930s broadcasters warned against the impending calamity . Denis Farr note that Bacon was sympathetic to George Orwell and referred in interviews to Orwellian " shouting voices ... and trembling hands ... convey [ ing ] the harsh atmosphere of an interrogation . "