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Artworks
after Study for Portrait of Pope Innocent X after Velasquez (1965)
Francis Bacon
after Study for Portrait of Pope Innocent X after Velasquez (1965), 1989
Lithograph on paper
Sheet: 115.5 × 76.8 cm. 45 1/2 x 30 in.
Image: 95 × 69 cm. 37 1/2 x 27 in.
Image: 95 × 69 cm. 37 1/2 x 27 in.
Edition of 60 (plus proofs)
Signed in pencil lower right
£ POA
Further images
Edition of 60 with Arabic numbering, 20 H.C. (Hors Commerce) with Arabic numbering, 20 E.A. (artist proofs). Inspired by the painting of the same title in the collection of the...
Edition of 60 with Arabic numbering, 20 H.C. (Hors Commerce) with Arabic numbering, 20 E.A. (artist proofs). Inspired by the painting of the same title in the collection of the private collector.
Francis Bacon's reinterpretations of Velázquez’s Pope Innocent X are considered some of the most powerful and disturbing works in modern art. In his 1971 lithograph, Bacon transforms the serene, authoritative pope into a figure of anguish, often depicted in the act of a silent scream. The deep crimson curtains create a theatrical backdrop, heightening the drama, while the pope's distorted face symbolises the fragility of the human condition.
Raised in an Anglican household but later an atheist, Bacon struggled with themes of religion and authority. His screaming pope reflects his critique of institutional power, particularly the Catholic Church, and expresses existential horror. Unlike traditional religious art that associates suffering with redemption, Bacon’s popes scream into a void, emphasising the absence of salvation and the chaos of life.
Bacon’s use of shadow, stark colours, and isolation intensifies the sense of despair, portraying the pope as a vulnerable, human figure. The work explores broader existential themes, including humanity’s futile search for meaning in a disordered universe, reflecting Bacon’s personal turmoil and view of life as chaotic and meaningless.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/study-portrait-pope-innocent-x
Francis Bacon's reinterpretations of Velázquez’s Pope Innocent X are considered some of the most powerful and disturbing works in modern art. In his 1971 lithograph, Bacon transforms the serene, authoritative pope into a figure of anguish, often depicted in the act of a silent scream. The deep crimson curtains create a theatrical backdrop, heightening the drama, while the pope's distorted face symbolises the fragility of the human condition.
Raised in an Anglican household but later an atheist, Bacon struggled with themes of religion and authority. His screaming pope reflects his critique of institutional power, particularly the Catholic Church, and expresses existential horror. Unlike traditional religious art that associates suffering with redemption, Bacon’s popes scream into a void, emphasising the absence of salvation and the chaos of life.
Bacon’s use of shadow, stark colours, and isolation intensifies the sense of despair, portraying the pope as a vulnerable, human figure. The work explores broader existential themes, including humanity’s futile search for meaning in a disordered universe, reflecting Bacon’s personal turmoil and view of life as chaotic and meaningless.
For further information on the original painting please visit the Francis Bacon Estate page: https://www.francis-bacon.com/artworks/paintings/study-portrait-pope-innocent-x
Provenance
Published by Michel Archimbaud for the Librairie Séguier, Paris, itself for IRCAM - Centre Pompidou, printed by Art Estampe, ParisPublications
Bruno Sabatier, Francis Bacon, The Graphic Work, no. 14Alexandre Tacou, Francis Bacon, Estampes, no. 9
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