Francis Bacon's Pope Innocent X: A Deep Dive
Does the scream of a pontiff, captured on canvas, hold the power to shatter centuries of tradition and redefine the very essence of artistic expression? Francis Bacon's "Study after Velzquez's Portrait of Pope Innocent X" is not merely a painting; it is a visceral confrontation, a scream frozen in time that challenges the viewer to confront the raw human condition.
This is a painting by the British artist, painter Francis Bacon. The picture is called "Study after Velzquez's Portrait of Pope Innocent X." Painted in 1953, it represents a pivotal moment in Bacon's oeuvre, a moment where his fascination with the human form and the psychological weight of existence coalesced into a powerful and unforgettable image. The image of the pope, particularly in this specific pose, recurs frequently in Bacon's work, underscoring the artist's deep and enduring engagement with the subject. He was obsessed with a painting done 300 years earlier, a painting by Diego Velzquez.
| Category | Details |
|---|---|
| Full Name | Francis Bacon |
| Born | October 28, 1909, Dublin, Ireland |
| Died | April 28, 1992, Madrid, Spain |
| Nationality | British (born in Ireland) |
| Known For | Expressionist paintings, portraits, particularly his "screaming pope" series |
| Artistic Style | Expressionism, Figurative, Abstract |
| Notable Works | "Study after Velzquez's Portrait of Pope Innocent X" (1953), "Three Studies for Figures at the Base of a Crucifixion" (1944), various self-portraits |
| Key Themes | Mortality, violence, isolation, the human condition, the grotesque |
| Influences | Diego Velzquez, Michelangelo, Surrealism |
| Education | Self-taught, though he did briefly attend a drawing class |
| Career Highlights | Exhibited internationally, major retrospectives at the Tate Gallery (London), the Centre Pompidou (Paris), and the Metropolitan Museum of Art (New York) |
| Reference | Tate - Francis Bacon |
In the art world, Francis Bacon's "Study after Velzquez's Portrait of Pope Innocent X" is renowned for its profound emotional impact and its audacious challenge to established artistic conventions. This work is not simply a derivative copy; it is a radical reimagining. It draws inspiration from Diego Velzquez's extraordinarily lifelike portrait of Pope Innocent X, painted in 1650, but it transforms the original into something far more unsettling, more raw, and more intensely personal. The "Study" series, including variations and sketches, comprises around 45 pieces, executed throughout the 1950s and into the early 1960s.
This work of art provides a new perspective on the famous 1650 portrait of Pope Innocent X by Diego Velzquez. Bacons version is a distortion, a deconstruction, and a reinvention. The original portrait depicts a figure of immense power and authority, a man who, despite his cunning and political maneuvering, presents a facade of serene control. Bacon, however, rips away this facade, exposing a figure wrestling with inner turmoil and existential dread. It is a deeply psychological portrait, a scream captured in oils.
Bacons most recognizable image, and hence most famous painting, is the screaming pope of "Study after Velzquez's Portrait of Pope Innocent X," 1953. The 1953 painting, with its dimensions of 153cm x 118cm (oil on canvas), is not merely a visual representation; it is an embodiment of human anguish. The pope in Bacon, however, is vulnerable and under judgment. He does not possess the strength and power of the Velzquez pope. Instead, the pontiff is depicted as a figure trapped, isolated, and screaming, his features contorted in an expression of pure terror. This scream, unlike a cry that might be communicated to its surroundings, is bottled up, echoing within a 'vortex of contracting space'. The artist himself saw the scream as an expression of the human condition.
To understand Bacon's work, its essential to recognize his method of dissecting the human form. One of the most impactful and revisited paintings by the artist is his study of Velzquez's portrait of Pope Innocent X from 1650. This painting reveals Pope Innocent X in a challenging and powerful stance, yet Bacons interpretation is drastically different. The original portrait, a masterpiece of realism, is transformed into an unsettling and unforgettable image. Bacon's approach was to deconstruct the image, focusing on the underlying psychological state. This series, which Bacon revisited nearly 50 times, is a testament to the lasting impact of Velzquez's portrait and a reflection of Bacon's artistic vision.
In the summer and fall of 1952, Francis Bacon painted a series of six small portrait heads. In the following year, 1953, he produced the first of his major "Pope" paintings, and that year's work, "Study after Velzquez's Portrait of Pope Innocent X," is often seen as the definitive statement of the series. The Des Moines Art Center in Iowa also holds a version of "Study after Velzquez's Portrait of Pope Innocent X," further showcasing the artists influence and the enduring fascination with this theme. The version exhibited at the Des Moines Art Center, Iowa, is a transformed version of Diego Velzquez's 1650 portrait of Pope Innocent X.
Another significant piece, "Study for the Portrait of Pope Innocent X," created by Francis Bacon in 1965, is a poignant work of art that aligns with the expressionism movement. Serving as a sketch and study, the artwork delves into the subject matter with striking intensity and abstraction, characteristic of Bacons style, reinforcing his exploration of the human psyche through visual representation. These works are more than mere portraits; they are reflections of the human condition as Bacon saw it vulnerable, exposed, and perpetually on the brink of collapse.
