I was looking forward to this show. I had assumed from the title — All Too Human: Bacon, Freud and a Century of Painting Life — that it was going to be about life painting over the course of the past hundred years. A first glance at the introductory gallery raised my hopes. There was a trio of darkly brooding Sickerts, a couple of excoriatingly honest Stanley Spencers, a lusciously painted pair of Chaim Soutines.