This paper examines Francis Bacon's 1953 painting "Study after Velázquez's Portrait of Pope Innocent X," a radical reinterpretation of Velázquez's serene 1650 papal portrait. The analysis explores how Bacon transforms the composed pope into a screaming, isolated figure to critique religious institutions and challenge perceived versus actual reality. Through examination of compositional elements—spatial balance, symbolic objects, dark expressionist coloring, and the muting of the pope's voice—the paper argues that Bacon uses visual distortion to expose the vulnerabilities of authority figures and question the role of religion in post-World War II society. The paper concludes by connecting Bacon's artistic choices to his philosophical atheism and personal biography.
Study after Velázquez's Portrait of Pope Innocent X is a 1953 painting by Irish-born British figurative painter Francis Bacon. The work is based on a 1650 portrait of Pope Innocent X by Spanish artist Diego Velázquez. While Velázquez's original presents the pope as a calm and authoritative figure, Bacon's version distorts this image radically, portraying instead a pope screaming in despair. The painting functions as a critique of religious institutions and the god-like perception associated with their leaders. More broadly, it represents varied versions of reality in society and suggests that truth can be accessed only by distorting and questioning these constructed realities.
The portrait was created and initially exhibited in the context of post–World War II England. Bacon explores the irony that the church, traditionally seen as an instrument of peace, was unable to prevent catastrophic war. The imagery of the pope screaming in despair points to this historical failure and suggests that the realities associated with the Papacy and religion are relative to individual interpretation. Through the portrayal of a suffering and isolated pope, Bacon poses urgent questions regarding the role of religion in contemporary life, the distinction between good and evil, and the authority of traditional institutions.
The portrait strikes a striking symmetric balance, with the pope's image appearing in the center of the canvas. There is a near-equal distribution between positive space and negative space surrounding the figure. This compositional choice projects a visual contrast between perceived reality and actual truth. The symmetry symbolizes the way religious leaders are perceived as exemplary, sane, composed, and near-perfect versions of humanity—a perception that contrasts sharply with Bacon's artistic reality of a screaming pope afflicted by ordinary human weakness.
The use of equilibrated space suggests a tension between two irreconcilable versions of the same subject. On one side lies the cultural expectation of papal infallibility and authority; on the other, Bacon's assertion of human vulnerability and suffering. This compositional strategy transforms the formal device of balance into a statement about epistemology—about how we know and validate truth in a world where official narratives conflict with observable reality.
Several symbolic elements reinforce Bacon's critique of institutional authority. The pope is portrayed sitting in his chair, but the chair appears to be dissolving or disappearing into the surrounding darkness. The papal chair itself is a standing symbol of papal authority in the Catholic Church. By destabilizing this symbol, Bacon visually argues that confronted with his expressed reality, the perceived reality of institutional power begins to vanish, causing the individual agony and despair.
The pope's veil is similarly distorted—tattered and no longer of the customary length. This deterioration of ceremonial vestments works alongside the disappearing chair to suggest a subversion of the self-assurance and power associated with papacy and religious leadership. The visual unraveling of these emblems of authority parallels the spiritual and intellectual crisis that Bacon implies the church faces in the modern world.
The painting employs expressionist technique to intensify its emotional and philosophical impact. The background is rendered in dark tones that seem to emerge and engulf the pope, creating an atmosphere of encroaching darkness. Variations in hue within the background establish a sense of transparency, allowing the viewer to perceive the pope's anguish within this surrounding darkness. The pope is shown screaming, but his voice appears muted—silenced by the dark, rich colors and the enclosing drapes that surround him.
This muting of the pope's voice is symbolically potent: it represents the power of established institutions to construct and enforce perceived realities that override actual truth. The dark colors, applied with expressionist intensity, create the nightmarish and grotesque tone the painting evinces. These formal choices align perfectly with Bacon's thematic goal: to expose the horror underlying official narratives of religious authority and institutional order.
Bacon's exploration of isolation conferred by authority appears throughout his artistic practice. While his contemporaries accepted the authority and dignity of established leaders, Bacon chose to expose their vulnerabilities, suspicions, and inner doubts. The Study after Velázquez's Portrait of Pope Innocent X carries forward this theme in a manner that both astonishes and intrigues viewers. As Margaret Thatcher once commented on Bacon's works, they are "those images that horrify and seduce you at the same time." Art theorist Gilles Deleuze characterized the portrait as a classical reinvention of the old order of art into the new era of expressionism.
The portrait provides an artistic means of exposing complex dilemmas embedded within societal leaders. Bacon's repeated engagement with papal imagery reflects both philosophical conviction and personal history. Although raised in an English family that practiced Christian values, Bacon was an atheist who believed that established institutions—especially religion—bore responsibility for much of society's suffering. From this perspective, his motivation for distorting the pope's portrait becomes clear: he sought to uncover truth by tearing down the veils of perception that obscure reality.
Some scholars argue that Bacon's obsession with papal images also reflects his personal biography. Bacon was homosexual, and his military father attempted to beat this identity out of him. It is plausible that Bacon saw the pope as representing the authority his father wielded to mistreat him, motivating his artistic need to distort and challenge that authority. This biographical reading adds psychological depth to his philosophical atheism, suggesting that personal trauma and intellectual conviction reinforced each other in shaping his artistic vision.
"Atheism and personal trauma inform papal distortion"
Glover, Michael. "Great Works: Study After Velázquez's Portrait Of Pope Innocent X, 1953, 153Cm X 118.1Cm By Francis Bacon." The Independent, 2013.
Hammer, Martin. Francis Bacon. Print.
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