Bacon's Pope: Reimagining Velzquez's Icon & Post-War Anguish
Is it possible for a canvas to scream, to embody the very essence of human anguish and vulnerability? Francis Bacons unsettling portrayals of Popes, particularly his "Study after Velzquez's Portrait of Pope Innocent X," provide a resounding "yes," transforming a religious figure into a conduit for raw emotion and postwar anxieties.
The art world has long grappled with the enigmatic genius of Francis Bacon. His visceral and often disturbing paintings, characterized by distorted figures and unsettling imagery, delve into the depths of the human condition. Bacon's fascination with the figure of the Pope, specifically his reinterpretations of Diego Velzquez's portrait of Pope Innocent X, remains a cornerstone of his oeuvre, offering a window into his artistic obsessions, technical prowess, and the cultural climate in which he worked. The genesis of this obsession can be traced back to the late 1940s, with the idea already brewing while Bacon was in the south of France in 1946. It would be a preoccupation that would span over two decades, resulting in numerous paintings exploring the theme.
| Full Name | Francis Bacon |
| Born | October 28, 1909, Dublin, Ireland |
| Died | April 28, 1992, Madrid, Spain |
| Nationality | British (born Irish) |
| Known For | Expressionist paintings, particularly distorted portraits and figures |
| Key Themes | Human isolation, mortality, violence, the psychological state |
| Influences | Diego Velzquez, Pablo Picasso, Vincent van Gogh, photography, film |
| Notable Works | Study after Velzquez's Portrait of Pope Innocent X, Three Studies for Figures at the Base of a Crucifixion, Figure with Meat, Second Version of Triptych 1944 |
| Artistic Style | Figurative, Expressionistic, often incorporating distorted and visceral imagery |
| Techniques | Oil on canvas, characterized by a rapid, intuitive approach with visible brushstrokes and a focus on capturing the essence of the subject. |
| Legacy | Considered one of the most important and influential artists of the 20th century; his work continues to provoke and challenge viewers. |
| Reference | Tate - Francis Bacon |
Bacon's "Study after Velzquez's Portrait of Pope Innocent X" is not merely a copy; it is a radical reinterpretation. Inspired by the 17th-century portrait, Bacon's 1953 painting is a bold exploration of power and vulnerability. He spent two decades studying Velzquez's masterpiece, poring over black-and-white reproductions in textbooks, developing a deep respect for the Spanish master. The painting depicts a distorted and screaming pope, a far cry from the regal and composed figure of Velzquez's original. This dramatic shift in tone and representation underscores Bacons unique approach to his subjects.
The Pope, rendered in Bacon's style, is stripped of his traditional authority, his vulnerability laid bare. Unlike Velzquez's Pope, who exudes strength and power, Bacon's version is vulnerable, caught in a vortex of anguish. The scream that emanates from the figure, a central motif in Bacon's work, becomes a symbol of human suffering, an echo in "the vortex of contracting space," unable to communicate its pain to the world. This contrast highlights the core of Bacon's artistic project: to expose the raw, unfiltered emotions that lie beneath the surface of appearances.
Bacon's artistic process was, by his own admission, often "accidental." The finished work rarely reflected his initial visualization. This improvisational approach allowed him to capture the immediacy and intensity of his subjects' emotions. He would revisit themes and images, and in the summer and fall of 1952, Bacon painted a series of six small portrait heads, further refining his exploration of the Pope figure and other subjects. His art, marked by visible brushstrokes and a focus on raw expression, emphasized the psychological impact of his subjects. This spontaneity contributes to the painting's visceral impact, amplifying the sense of immediacy and the raw emotionality of the portrayal.
The painting is a profound reflection of the postwar era, a period marked by trauma, uncertainty, and a pervasive sense of existential dread. The image of the screaming Pope resonated deeply with audiences who had witnessed the horrors of war and the fragility of human existence. It is an embodiment of postwar anguish, a visual representation of the anxieties and uncertainties that defined the age. Scholars have long analyzed the possible inspirations behind these works, recognizing their significance as a reflection of the era.
Bacon's art draws on various sources, including press and propaganda photos of fascist dictators and their henchmen, a connection that underscores his interest in power, authority, and the dark side of human nature. Mention of Nazism and authoritarian figures takes us to Bacons fascination with these aspects. His work often combined elements of religious and secular imagery. His "landscape with pope/dictator," for instance, merges the attributes of a Catholic clergyman with those of a political leader, like a suit or uniform. This fusion of religious and political elements reveals Bacon's complex view of power and its corrupting influence.
The artist's fascination with the figure of the Pope wasn't confined to a single work. He painted around fifty portraits of the Pope throughout the 1950s and early 1960s. This dedication to the theme highlights the importance of this subject in Bacon's overall artistic vision. The present work sits alongside significant masterpieces that announced the arrival of the artist's genius and primary subject matter. Works like "Study of Red Pope, 1962, 2nd version," unseen in public for nearly 45 years, offer a deeply poignant insight into one of the 20th century's most important bodies of work.
The exhibition "Couplings" at the Gasogian in London, which ran until August 3, 2019, featured works related to Bacon, further showcasing his impact on the art world. This included the 1953 painting, inspired by Diego Velazquez's 17th century portrait of Pope Innocent X. The artist explored the figure of the Pope throughout the 1950s and early 1960s, producing around fifty portraits that offered a unique and provocative perspective on the intersection of power, faith, and the human condition.
Bacon's art offers an unflinching examination of the human condition. His paintings, characterized by distortion, violence, and an exploration of the psychological state, confront the viewer with uncomfortable truths. The artist discussed the omnipresence of death in life, a theme that deeply influenced his work. The "screaming pope" embodied postwar anguish. His works are not mere representations of figures; they are vessels of emotion, reflections of the anxieties and uncertainties of the modern world. These paintings, particularly those centered on the Pope, stand as testaments to Bacon's genius and his enduring legacy as a master of expressionism.
The significance of Bacons work extends beyond its artistic merit. His influence can be seen in various forms, from the exploration of the human form to the treatment of color and texture. Bacons techniques, the use of visible brushstrokes, the distortion of forms, and the choice of unsettling subjects, all serve to amplify the emotional impact of his works. He challenged conventional notions of beauty and representation, forcing viewers to confront the raw and often unsettling realities of the human experience.
The paintings, particularly the "Study after Velzquez's Portrait of Pope Innocent X," serve as an enduring testament to the power of art to reflect and shape our understanding of the world. His work has been a subject of intense scrutiny. Scholars have analyzed the possible inspirations behind these works, and his profound impact on modern art is undeniable. As we look at these pieces, we are forced to confront our mortality and acknowledge the underlying vulnerability of the human experience.
