Francis Bacon Study for portrait of Pope Innocent X After Velasquez For Sale

Bacon’s reinterpretations of the Velázquez painting is widely considered to be his most well-known series and the works are some of the most powerful and disturbing depictions in modern art. 

In the lithograph, Bacon reimagines Pope Innocent X sitting in his papal throne, however the serene and authoritative demeanour of Velázquez’s original is replaced by a figure in anguish, often caught in the act of a silent scream. The deep crimson curtains behind the figure give the impression of a theatrical backdrop, heightening the sense of drama and artifice. The pope's distorted face, often twisted in agony or despair, becomes a symbol of the fragile human condition.

Though Bacon was raised in a strictly Anglican household, he developed an antagonistic relationship with religion over time. His early exposure to religious ritual and iconography left a lasting imprint on his imagination, even as he distanced himself from religious faith. Throughout his life, Bacon repeatedly explored themes of suffering, death, and existential anxiety—concepts deeply rooted in Christian thought. However, Bacon himself was a staunch atheist, often stating that he did not believe in the afterlife or the metaphysical assurances offered by religion. For him, the physical reality of life, often brutal and violent, was all that existed.

Bacon’s imagery of the screaming pope can be seen as a reflection of his personal struggle with religion and authority. The pope, as the supreme figure of spiritual and moral authority within the Catholic Church, becomes a symbol of power, but in Bacon’s hands, this power is undermined. The pope is no longer an all-knowing, all-powerful figure but a man trapped in his own existential horror. This subversion of religious imagery shows Bacon’s deep scepticism of institutional power, particularly the Church’s, and reflects his view of life as chaotic and meaningless.

In Bacon's portrayal of the pope, the act of screaming evokes a deep, primal suffering, reminiscent of religious martyrdom. The image may be interpreted as a critique of the Church’s historical relationship with pain and suffering, particularly its veneration of the suffering body in Christian iconography—the crucified Christ being the most potent example. However, while traditional religious art often portrays suffering as a path to redemption or salvation, Bacon’s popes scream in the void. There is no redemption or salvation here—only anguish.

This existential scream can also be seen as a manifestation of Bacon's own inner turmoil. The emotional intensity of the work mirrors Bacon’s own life, marked by personal tragedy, loss, and bouts of self-destructive behaviour. The pope’s scream may, in fact, be Bacon’s own scream, representing his confrontation with the idea of mortality and the futility of life.

Bacon’s use of religious figures like the pope not only reflects his personal engagement with religious themes but also his artistic practice of subverting traditional forms of representation. By reworking Velázquez’s *Pope Innocent X*, Bacon is participating in a broader modernist trend of taking classical or historical subjects and deconstructing them for contemporary audiences. In Bacon's hands, the revered figure of the pope is no longer untouchable, but a vulnerable, deeply human figure whose suffering is laid bare.

The heavy use of shadow, the stark contrasts in colour, and the sense of isolation contribute to a sense of foreboding. These popes, isolated and imprisoned in their thrones, seem disconnected from the divine and trapped within the confines of their own existence. This could be seen as a metaphor for humanity’s search for meaning in an indifferent universe—a theme that occupied Bacon throughout his career.

Buy Study for portrait of Pope Innocent X After Velasquez

Andipa Editions, as part of Andipa, have been at the forefront of the Bacon market for over 25 years. To enquire about buying Study for portrait of Pope Innocent X After Velasquez, contact us via sales@andipa.com or on +44 (0) 20 7589 2371.

Sell Study for portrait of Pope Innocent X After Velasquez

With a global network of active buyers, Andipa Editions are the place to sell your Study for portrait of Pope Innocent X After Velasquez print. Straight-forward and stress-free, we manage the process on your behalf and help to maximise your return. For a complimentary valuation of your Study for portrait of Pope Innocent X After Velasquez print, contact us via sales@andipa.com or on +44 (0) 20 7589 2371. Explore our collection of Francis Bacon prints for sale.