Unpacking Francis Bacon's "Pope" A Dive Into His Art

Who was Francis Bacon, and why does his "Study after Velzquez's Pope Innocent X" continue to captivate and provoke? This isn't just a painting; it's a visceral scream captured on canvas, a raw and unflinching exploration of the human condition that redefined portraiture.

Francis Bacon's "Study after Velzquez's Pope Innocent X" is a profound reimagining of Diego Velzquez's 1650 portrait, a work that delves into the depths of psychological intensity and artistic genius. This is not simply a copy; it's a bold reinterpretation, a confrontation with mortality, and a journey into the artist's own anxieties and obsessions. The painting, created in 1953, is an oil on canvas that perfectly encapsulates the expressionist movement. It's a symbolic and dramatic rendering of Velzquez's earlier work.

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, particularly his depictions of Popes and portraits.
Artistic Style	Expressionism, Figurative art, Surrealism
Notable Works	"Three Studies for Figures at the Base of a Crucifixion" (1944), "Study after Velzquez's Portrait of Pope Innocent X" (1953), "Figure with Meat" (1954)
Influences	Diego Velzquez, Vincent van Gogh, Pablo Picasso, Eadweard Muybridge, and the imagery of suffering and violence.
Subject Matter	The human figure, often distorted and isolated; themes of suffering, death, and the human condition.
Education	Largely self-taught; developed his artistic skills through observation and experimentation.
Reference	Tate: Francis Bacon

Bacon's fascination with Velzquez's portrait was all-consuming. He spent two decades studying it, immersing himself in black and white reproductions, poring over details. He deeply respected the Spanish master, but his own interpretation veered into a realm of intense personal expression. Bacon's pope does not command the same power and authority as Velzquez's. Instead, the figure is presented as vulnerable, caught in a moment of torment and judgment. The iconic scream is amplified, unable to connect with the outside world, instead echoing within the "vortex of contracting space".

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The work, "Study after Velzquez's Portrait of Pope Innocent X," which was created in 1953, is a striking example of Bacon's unique approach. The painting portrays a symbolic and dramatic reinterpretation of Velzquez's earlier portrait. Bacon's version shows the Pope as a disturbing figure, often placed in unsettling settings. The "Pope" series reveals a fascination with power, authority, and the psychological impact of isolation.

This work isn't the only one in which the artist explored the theme. Scholar, art historian, and Gagosian director Richard Calvocoressi highlighted the importance of these early works. He noted that it's particularly exciting when these important early Bacon works reemerge. In London, at the Royal Academy, the public can view three of Bacon's reinterpretations of the pope theme, dating from 1949, 1951, and 1965. These works highlight the ongoing nature of Bacon's investigation into this subject matter.

Bacon's art also often reflected his fascination with images of power, including press and propaganda photos of fascist dictators and their henchmen. This is evident in paintings like "Landscape with Pope/Dictator," where he combines elements of a Catholic clergyman the biretta, or square cap with the secular attire of a political leader, such as a suit or uniform. These juxtapositions highlight Bacon's interest in authority, control, and the potential for corruption.

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The significance of Bacon's work extends beyond its visual impact. In the famous David Sylvester interview, Bacon confessed to the "accidental" nature of much of his art, acknowledging that his initial visions rarely matched the final result. This element of chance and spontaneity contributes to the rawness and immediacy of his work, making each piece a genuine expression of his inner world.

Furthermore, the inclusion of his work in major exhibitions, such as the one at the Royal Academy, shows the ongoing relevance of his work. The work has also recently been displayed. The exhibition "Couplings" was on at the Gagosian in London, until August 3, 2019. Furthermore, art historians like Martin Hammer have devoted their careers to studying and writing about Bacon's work. Hammer's books, such as "Bacon and Sutherland" (2005) and "Francis Bacon and Nazi Propaganda" (2012), offer insightful perspectives on the artist's life and work. The meticulous "Catalogue Raisonn" by Martin Harrison and Rebecca Daniels, published by the estate of Francis Bacon, provides comprehensive documentation of his artistic output. This ensures that his legacy endures.

Bacon's "Study after Velzquez's Pope Innocent X" isn't merely a painting; it's a mirror reflecting the anxieties, fears, and contradictions of the human condition. It is a visceral experience. It is a reminder that the power of art lies in its ability to confront, challenge, and ultimately, to provoke. His legacy, a testament to his lasting impact, is cemented in art history.

Additional works such as "Study after Velzquez (1950)," and those in the series including "Pope II" from 1951 and the series of small portrait heads from 1952 further solidified his place in art history. The lasting influence of his work is also seen in ongoing exhibitions and publications, proving his lasting impact on art.