Francis Bacon's Screaming Popes: Inspiration & Legacy

Can a painting truly capture the essence of existential dread, the raw scream of the human condition? Francis Bacons "Study after Velzquez's Portrait of Pope Innocent X" answers that question with a resounding, unsettling "yes."

The name Francis Bacon is synonymous with a certain brand of artistic intensity, a visceral examination of the human form and the psychological landscapes it inhabits. His work is not for the faint of heart; it confronts the viewer with unflinching depictions of vulnerability, anguish, and the inherent violence of existence. This reputation was cemented, in no small part, by his series of "Screaming Popes," a body of work that reinterpreted Diego Velzquez's portrait of Pope Innocent X through a lens of postwar angst and existential questioning. The paintings are a powerful testament to the artist's ability to fuse historical references with contemporary anxieties, creating images that continue to resonate with viewers decades after their creation. In the early 1950s, Bacon was inspired by the portrait of Pope Innocent X painted by Diego Velazquez, he painted a series of portraits, which later became famous.

Full Name	Francis Bacon
Born	October 28, 1909, Dublin, Ireland
Died	April 28, 1992, Madrid, Spain
Nationality	British (born in Ireland)
Education	Self-taught, though he absorbed influences from art history, including Renaissance and Modern masters.
Known For	Expressionist paintings characterized by their stark depictions of figures in distorted and often violent settings. The "Screaming Popes" series is among his most famous works.
Style and Influences	Expressionism, Surrealism. Influenced by artists like Velzquez, and film such as Sergei Eisenstein's "Battleship Potemkin," along with classical art.
Key Themes	Existentialism, human isolation, the nature of suffering, mortality, and the human form.
Significant Works	"Three Studies for Figures at the Base of a Crucifixion" (1944), "Study after Velzquez's Portrait of Pope Innocent X" (1953), and various self-portraits.
Notable Exhibitions	Numerous solo and group exhibitions at prestigious galleries and museums worldwide, including the Tate Gallery (London), the Guggenheim (New York), and the Centre Pompidou (Paris).
Critical Reception	Bacon's work has been met with both acclaim and controversy. His paintings are celebrated for their emotional power and technical skill, but have also drawn criticism for their bleak subject matter.
Legacy	A highly influential figure in 20th-century art, Bacon's work continues to be studied and admired for its profound insights into the human condition. He has inspired countless artists and remains a pivotal figure in modern and contemporary art.
Reference Website	Tate: Francis Bacon

The genesis of Bacon's "Screaming Pope" series lies in his profound engagement with Velzquez's original portrait. Bacon, however, did not merely replicate the Spanish master's work. He took it as a starting point, a foundation upon which to build his own deeply personal and often disturbing interpretations. He meticulously studied photographic reproductions, as he never saw the original in Rome.

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The influence of other artistic and cinematic works cannot be ignored. Bacon was not just drawing from the canon of Western art; he was also absorbing the visual language of his time. A still from Sergei Eisenstein's film "Battleship Potemkin" (1925), specifically the image of the screaming nurse, served as another key source of inspiration. Bacon fused this raw, primal scream with the figure of the Pope, creating an iconographic blend of religious authority and visceral human suffering. The screams and portraits, painted during the early 1950s, were one of the best display of his iconic violent brushstrokes.

One of the most striking aspects of Bacon's "Screaming Popes" is the palpable sense of violence that permeates the canvases. It is not always explicit; the violence is often suggested through distorted forms, claustrophobic settings, and the unsettling juxtaposition of colors and textures. The brushstrokes are aggressive, the application of paint thick and impasto. The figures are often confined within geometric frames, creating a sense of entrapment, a visual representation of the psychological confines of existence. The dark background lends a grotesque and nightmarish tone to the painting, highlighting the subject.

The psychological impact of these paintings is undeniable. Bacon tapped into the anxieties of the postwar era, a time marked by the trauma of conflict, the rise of existentialist philosophy, and a questioning of traditional values. The "Screaming Popes" encapsulate the existentialist predicament in the absent presence of God, exposing the pope as an empty. The screaming, snarling or otherwise distorted pope became his most famous image. The paintings are a visual embodiment of postwar anguish, reflecting the uncertainties and disillusionment of a generation grappling with the implications of a world irrevocably changed by war and technological advancement. The screaming pope can be linked to post existential angst and friedrich nietzsches concept of the death of god.

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The artist's use of color further enhances the emotional impact of the works. The palette is often dominated by stark contrasts blacks, oranges, and reds creating a sense of unease and tension. The colors seem to vibrate, adding to the overall feeling of disquiet. The choice of colors also added the feeling of violence. Created with oil on canvas, the painting shows a distorted version of portrait of pope innocent x by spanish artist diego vel\u00e1zquez, created around 1650.

In the summer and fall of 1952, Francis Bacon painted a series of six small portrait heads. That year marks a crucial period in Bacon's artistic development, as he honed his technique and refined his vision. The first image of a screaming popewhich has never been exhibited publiclyis due to go on show at Gagosian gallery in London. The artist himself acknowledged the profound impact of Velzquez's portrait on his work, stating that he considered it "one of the greatest portraits ever made," an obsession that fuelled his artistic endeavors.

The art historical significance of the "Screaming Popes" lies in their innovative fusion of tradition and modernity. Bacon did not simply reject the past; he engaged with it, transforming historical references into powerful commentaries on the human condition. His work represents a significant departure from the conventions of portraiture, challenging the viewer to confront the uncomfortable truths about human existence. He challenged the conventions of portraiture. The picture was inspired by diego vel\u00e1zquezs extraordinarily lifelike portrait of a powerful and unscrupulous pope who duplicitously took the name innocent.

The influence of Bacon's work on subsequent generations of artists is undeniable. His unflinching approach to the human figure and his exploration of existential themes have resonated with countless creators, inspiring them to push the boundaries of artistic expression. His impact can be seen in the works of artists working across various mediums, from painting and sculpture to film and performance art. During the late 1940s and early 1950s, Francis Bacon developed what was to become his most famous image: The screaming, snarling or otherwise distorted pope.

Martin Hammer is a leading specialist on Bacon, having taught, lectured, researched and written about his work for many years. He is the author of two important scholarly books on the artist, bacon and sutherland (2005) and francis bacon and nazi propaganda (2012). He also curated major exhibitions devoted to graham sutherland at the dulwich

The "Study after Velzquez's Portrait of Pope Innocent X" and the subsequent "Screaming Pope" series are not merely paintings; they are portals into the depths of human experience. They are visual representations of the anxieties, fears, and uncertainties that define the human condition. They serve as a potent reminder of the fragility of life, the inescapable nature of suffering, and the enduring power of art to confront the uncomfortable truths about ourselves. The picture, bacon's first of a pope, is currently on view.