Mention Francis Bacon, and you sometimes have to clarify which one you mean: the twentieth-century painter, or the seventeenth-century philosopher? Despite how much time separated their lives, the two men aren’t without their connections. One may actually have been a descendant of the other, if you credit the artist’s father’s claim of relation to the Elizabethan intellectual’s half-brother. Better documented is how the more recent Francis Bacon made a connection to the time of the more distant one, by painting his own versions of Diego Velázquez’s Portrait of Innocent X. We refer, of course, to his “screaming popes,” the subject of the new Hochelaga video above.
As Hochelaga creator Tommie Trelawny puts it, “no image captured his imagination more” than Velázquez’s depiction of Pope Innocent X, which is “considered to be one of the finest works in Western art.”
Bacon’s version from 1953, after he’d more than established himself in the English art scene, is “a terrible and frightening inversion of the original. The Pope screams as if electrocuted in his golden throne. Violent brushstrokes sweep across the canvas like bars of a cage, stripping away all sense of grandeur and leaving only brutality and pain.” In many ways, this harrowing image came as the natural meeting of existing currents in Bacon’s work, which had already drawn from the history of Christian art and employed a variety of anguished, isolated figures.
Unsurprisingly, Bacon’s Study after Velázquez’s Portrait of Pope Innocent X inspired all manner of controversy. The artist himself denied all interpretations of its supposed implications, insisting that “recreating this papal portrait was simply an aesthetic choice: art for the sake of art.” In any case, he followed it up with about 50 more screaming popes, each of which “embodies a different facet of human darkness.” These and the many other works of art Bacon created prolifically until his death in 1992 reflect what seems to have been his own troubled soul and perpetually disordered life. His style changed over the decades, becoming somewhat softer and less aggressively disturbing, suggesting that his demons may have gone into at least partial retreat. But could anyone capable of painting the screaming popes ever truly have lost touch with the abyss?
Related content:
The Brilliantly Nightmarish Art & Troubled Life of Painter Francis Bacon
Francis Bacon on The South Bank Show: A Singular Profile of the Singular Painter
William Burroughs Meets Francis Bacon: See Never-Broadcast Footage (1982)
The “Dark Relics” of Christianity: Preserved Skulls, Blood & Other Grim Artifacts
The Scream Explained: What’s Really Happening in Edvard Munch’s World-Famous Painting
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.
