Francis Bacon's Screaming Popes: Art, History & Shocking Facts
What if a single artwork could encapsulate the raw, visceral anxieties of a generation scarred by war and grappling with an uncertain future? Francis Bacon's 'Screaming Pope' series, born from the ashes of World War II, did just that, offering a chilling mirror to the postwar condition.
The enigmatic world of Francis Bacon is one that continues to fascinate and unsettle in equal measure. His paintings, often characterized by their distorted figures, unsettling imagery, and raw emotional intensity, delve into the depths of the human psyche, exposing vulnerabilities and anxieties that resonate with a universal audience. Bacon's fascination with the human form, particularly the figure in moments of extreme duress, resulted in a body of work that is both compelling and deeply disturbing. His art is not for the faint of heart, but for those willing to confront the darkness within themselves and the world around them.
| 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 | Painter, known for his raw and unsettling figurative paintings |
| Artistic Style | Expressionism, Figurative Art |
| Notable Works | Study after Velzquez's Portrait of Pope Innocent X (1953), Three Studies for Figures at the Base of a Crucifixion (1944), various Pope paintings |
| Key Themes | Human isolation, violence, mortality, psychological states, the human form |
| Influences | Diego Velzquez, Pablo Picasso, Surrealism, photography, classical art, Greek tragedy |
| Major Exhibitions | Numerous solo and group exhibitions in major galleries and museums worldwide, including the Tate Gallery (London), Centre Pompidou (Paris), and Metropolitan Museum of Art (New York) |
| Career Highlights | Considered one of the most important British artists of the 20th century; his works have fetched record prices at auction |
| Reference | Tate - Francis Bacon |
Bacon's fascination with the image of the Pope is a particularly potent example of his artistic vision. The theme, arguably his most celebrated and notorious, yielded numerous paintings created between 1949 and 1962. These depictions, often collectively referred to as "Screaming Popes," are more typically shown with expressions of distress or anguish, a far cry from the traditional representations of papal authority. Bacon's popes are not figures of serene power, but rather embodiments of vulnerability and existential dread.
The first of these papal portraits, a significant moment in Bacons career, is currently accessible for viewing. Furthermore, the artist's reinterpretations of the pope theme, dating back to 1949, 1951, and 1965, are currently on display in London, as part of the Royal Academys exhibition Francis Bacon: Man and Beast. This offers a unique opportunity to examine the evolution of Bacons exploration of this complex subject.
The genesis of Bacon's "Screaming Popes" is rooted in a fascination with Diego Velzquez's 1650 portrait of Pope Innocent X. Bacon spent two decades studying Velzquez's masterpiece, immersing himself in black and white reproductions, understanding the formal qualities and psychological depth of the original. His aim, however, was not to replicate Velzquez but to reinterpret the image, to distill the essence of power and vulnerability, and to reveal the raw, often disturbing, aspects of the human condition. He deeply respected the Spanish master, using his portrait as a springboard to explore his own artistic concerns.
Bacons "Study after Velzquezs Portrait of Pope Innocent X" (1953) exemplifies this approach. This oil on canvas piece, created as part of the expressionist movement, is a dramatic and symbolic reimagining of Velzquez's original. The painting captures a figure, recognizably a pope, but distorted, screaming, and trapped within a claustrophobic space. The scream, a recurring motif in Bacon's work, is not merely an expression of physical pain, but a manifestation of existential angst, a primal cry against the void.
The power of the scream is particularly striking in Bacons interpretation. Unlike the stoic authority of Velzquezs pope, Bacons figure is portrayed as vulnerable, caught in a vortex of internal torment. The scream resonates not outward, but inward, amplifying the sense of isolation and despair. This emphasizes a central theme of Bacons art: the isolation of the individual in a world marked by suffering and uncertainty.
Bacons engagement with authority extended beyond the papal portrait. He found inspiration in images of authoritarian figures, from press and propaganda photos of fascist dictators to the stark realities of political leadership. Landscape with Pope/Dictator is an example of this, one of a few paintings where the symbols of religious and political power intertwine. In these works, the ceremonial attire of the Church the biretta, or square cap is combined with the secular garments of a political leader, such as a suit or uniform. This juxtaposition underscores the artist's interest in the nature of power, its potential for corruption, and the psychological impact it has on both the powerful and the powerless.
The artists approach was often described as accidental. In the words of Bacon himself, as conveyed in the David Sylvester interview, his finished works were often a far cry from his initial vision. The accidental quality of his creative process, the willingness to embrace the unexpected, became a defining characteristic of his art. This approach allowed for the emergence of the raw and powerful emotional content for which he is known.
A significant work, "Study of Red Pope, 1962, 2nd version", offers a poignant perspective on Bacons artistic exploration. Having been unseen for nearly 45 years, it was brought back to public attention during viewings leading up to its 2017 auction. This piece is a reinterpretation of his earlier 1962 painting, Study from Innocent X. The reappearance of this work is a testament to Bacons enduring influence and the continuous evolution of his artistic ideas.
Bacon's art is deeply rooted in the human condition. He explored the omnipresence of death in life. His paintings, often filled with figures rendered in contorted positions, confronted themes of mortality, violence, and the fragility of existence. His work is a reflection of a world scarred by war, a world grappling with the horrors of the 20th century.
Bacons impact on the art world and beyond is undeniable. His work continues to inspire, provoke, and challenge viewers. His legacy is not just that of a painter, but of a visionary who dared to confront the darkest aspects of the human experience, offering a raw and unflinching portrayal of the world as he saw it.
The lasting significance of Bacon's work can be seen in the words of art historian and Gagosian director Richard Calvocoressi, who commented that the reemergence of early Bacon paintings, especially alongside the papal reinterpretations, offers a particularly exciting perspective on his work. His art, which includes several paintings of "screaming popes" created between 1949 and 1962, remains a powerful representation of the anxieties and uncertainties of the postwar era.
Bacons art is a testament to the enduring power of art to reflect and shape our understanding of the human experience. It serves as a reminder of the complexities of the human psyche and the ever-present struggle to find meaning in a world often defined by chaos and suffering.
The exploration of the theme of the pontiff, perhaps Bacons most celebrated and infamous creation, serves as a window into his larger artistic concerns. His ability to translate the raw intensity of human emotions onto canvas continues to resonate. His works continue to be significant in the study of art history, neuroscience, and psychology.
The artwork entitled "Study after Velazquezs Portrait of Pope Innocent X was created by Francis Bacon in the year 1953. During the late 1940s and early 1950s, Bacon developed what was to become his most recognizable image: the screaming, snarling, or otherwise distorted pope. The work is a reinterpretation of the 1962 painting, Study from Innocent X.
