Francis Bacon's Screaming Popes: Inspiration & Analysis

Can a single painting truly encapsulate the anxieties of an age and the complexities of the human condition? Francis Bacon's "Study after Velzquez's Portrait of Pope Innocent X" emphatically answers in the affirmative, offering a visceral and haunting exploration of power, faith, and the very essence of being. This isn't just a painting; its a scream frozen in time.

The genesis of Bacon's iconic series of "Screaming Popes," which catapulted him to international fame in the early 1950s, lies in the meticulous study of Diego Velzquez's "Portrait of Pope Innocent X." Bacon, however, didn't merely replicate; he deconstructed, distorted, and ultimately, re-imagined the Baroque master's portrayal. The result is a work that is both terrifying and captivating, a testament to Bacon's unparalleled ability to tap into the raw, primal emotions that lie beneath the surface of human experience.

Francis Bacon: Quick Facts
Full Name: Francis Bacon
Born: October 28, 1909, Dublin, Ireland
Died: April 28, 1992, Madrid, Spain
Nationality: British (born in Ireland)
Known For: Painting, particularly his distorted figurative works.
Artistic Style: Expressionism, Figurative art
Notable Works:Study after Velzquez's Portrait of Pope Innocent X, Three Studies for Figures at the Base of a Crucifixion, Painting 1946
Key Themes: Human figure, isolation, violence, existentialism, the grotesque, power, religion.
Influences: Diego Velzquez, Michelangelo, Vincent van Gogh, Pablo Picasso, Eadweard Muybridge, Greek tragedy.
Education: Self-taught, though he briefly attended art classes.
Link to Official Website for Reference: The Estate of Francis Bacon

Bacons "Screaming Popes" series, born from Velzquez's original, are not simply portraits; they are dissections of power, faith, and the human psyche. The Spanish artist's portrait of Pope Innocent X, painted around 1650, depicts a figure of authority, rendered with remarkable realism. Bacon, however, saw an opportunity to explore the darker undercurrents of this authority, the potential for corruption and the inherent vulnerability beneath the papal facade. He did not want to see the original seventeenth-century painting, and just analyzed it through photographic reproductions.

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The paintings, often rendered with violent brushstrokes and a distorted color palette, depict the pontiff not in serene contemplation, but in a state of utter torment. The screaming mouth, the contorted features these are the hallmarks of Bacons artistic vision, reflecting a deep-seated skepticism of traditional power structures and the existential angst of the post-war era. The dark background lends a grotesque and nightmarish tone to the painting, amplifying the sense of unease. The artists atheistic perspective further fueled his critique, exposing the pope as an empty symbol. The screaming pope can be linked to post-existential angst and Friedrich Nietzsches concept of the death of god.

The inspiration for Bacon's chilling vision extended beyond the confines of the canvas. The artist cited the influence of the film Battleship Potemkin, specifically the scene of the screaming nurse, as a catalyst for his exploration of the human scream. The image of the open, anguished mouth became a recurring motif in Bacon's work, a visual representation of the internal turmoil he felt. This connection to film and visual narrative further elevates the work, making it more than a mere portrait, but a dynamic scene, a moment caught in mid-motion.

The painting, with its distorted portrayal of the pontiff, sparked debate and discussion upon its debut. Some saw a critique of religious authority, a visual deconstruction of power and its potential for corruption. Others interpreted it as an exploration of the human condition, a reflection of the isolation and suffering that Bacon himself experienced. The work has also been linked to post-existential angst and the concept of the "death of God," reflecting Bacon's atheistic perspective on the world. The painting critiques the pope as a symbol of oppression and violence. The painting's evocative power, its ability to provoke such a wide range of interpretations, is a testament to Bacon's genius.

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The use of color is crucial to the paintings impact. The vibrant, often garish hues, heighten the sense of unease, the unsettling blend of the beautiful and the grotesque. This painting, a disturbing yet beautiful work of art, captures Bacon's iconic violent brushstrokes, setting it apart.

Bacon feverishly experimented with new subjects and styles during the 1950s, a period of extreme creativity for the artist. The same figure would reoccur in later works by Bacon: Pope III (1951), Study for the Head of a Screaming Pope (1952), and a full length nude, Study for the Nurse in the film Battleship Potemkin (1957).

Bacons series of "Screaming Popes" helped establish his reputation in the early 1950s. His most recognizable image, and hence most famous painting, is the screaming pope of Study after Velzquezs Portrait of Pope Innocent X, 1953. These works became a touchstone, a symbol of his artistic vision. A Francis Bacon painting from one of the British artists most iconic bodies of work will be offered at Sothebys Contemporary Art Evening Sale in New York in May, where it could bring between $20 million and $30 million.

The painting, which is oil on canvas, demonstrates a distorted version of Portrait of Pope Innocent X, created around 1650 by the Spanish artist Diego Velzquez. The image of the pope relates to Bacon's fascination with animals and his depiction of human instincts. In one instance, the pope is shown as a gruesome figure and placed between two bisected halves of a cow. "Art, neuroscience and psychology, Francis Bacon studies (1) (London: The Estate of Francis Bacon, 2019). Catalogue raisonn by Martin Harrison and Rebecca" The estate of Francis Bacon, 2016). Catalogue raisonn by Martin Harrison and Rebecca Daniels, which was published by the estate.

The painting, Study after Velzquez's Portrait of Pope Innocent X, 1953, inspired by Diego Velazquez's Portrait of Pope Innocent X, is a scary yet beautiful painting, and one of Bacon's most famous paintings. The dark background lends a grotesque and nightmarish tone to the painting. The picture was inspired by Diego Velzquezs extraordinarily lifelike portrait of a powerful and unscrupulous pope who duplicitously took the name innocent. "Francis bacon, painter, is dead at 82." "Francis bacon, louise bourgeois and franz xaver messerschmidt: Cheim and read" "Francis bacon, confounder of art critics: Master of ebullient despair" "Francis bacon, the papal portraits of 1953" "Francis bacon/henry moore: Flesh and bone, ashmolean museum"

Beyond the immediate impact of the "Screaming Popes," Bacon's exploration of the human figure and the themes of violence and existentialism, solidified his position as a pivotal figure in 20th-century art. His work remains relevant today, as it invites viewers to confront the uncomfortable truths of the human experience. The paintings, drawings and books inspired by the baroque master and the papal figure reflect the power and longevity of Bacon's artistic vision.

The "Screaming Pope" series is a testament to Bacon's unique vision. The painting encapsulates the existentialist predicament in the absent presence of God. This work has earned a prominent place in art history, solidifying Bacon's legacy as a master of the macabre, a painter who fearlessly explored the depths of the human soul, creating images that continue to provoke, challenge, and haunt audiences worldwide.

The painting, Study after Velzquez's Portrait of Pope Innocent X, 1953, 93.2 76.5 cm (36.7 30.1 in), is part of the Arts Council Collection, Hayward Gallery, London.

How we identified these works.