Critics usually agree that seeing a painting by Francis Bacon (1909 - 1992) is, to a greater or lesser degree, an aesthetically painful experience. While this might be said of many works of art created in the 20th century, in the case of Bacon, this painfulness can surely be understood in a very specific sense. In the course of this essay, I shall focus on one of Bacon's earlier works, his 1953 painting "Study after Velázquez's Portrait of Pope Innocent X." I will try to analyze in which way the picture achieves its disturbing effect and in how far this effect lies at the very center of the 'meaning' of Bacon's painting.
Table of Contents
1. Introduction
2. The Influence of Velázquez
3. Aesthetics of the Portrait
4. Formal Analysis of the Study
5. Philosophical Implications and Conclusion
Objectives and Topics
This essay explores the aesthetic and psychological dimensions of Francis Bacon's 1953 painting "Study after Velázquez's Portrait of Pope Innocent X," examining how Bacon subverts the traditional representation of authority to depict the fragility of human existence.
- The relationship between Bacon's work and Velázquez’s original portrait
- The concept of "aesthetic negativity" in 20th-century art
- Technical composition and the transformation of the papal figure
- The shift from religious iconography to themes of nihilism and death
- The role of the "scream" as an expression of human vulnerability
Excerpt from the Book
Francis Bacon’s “Study after Velázquez’s Portrait of Pope Innocent X.”
Critics usually agree that seeing a painting by Francis Bacon (1909 - 1992) is, to a greater or lesser degree, an aesthetically painful experience. While this might be said of many works of art created in the 20th century, in Bacon's case, this painfulness can surely be understood in a very specific sense. In the course of this essay, I want to focus on one of Bacon’s earlier works, his 1953 painting “Study after Velázquez’s Portrait of Pope Innocent X.” I will try to analyze in which way the picture achieves its disturbing effect and in how far this effect lies at the very center of ‘meaning’ of Bacon’s painting.
In order to achieve a deeper understanding of the portrait in question, one has to become aware of Bacon’s complex and somewhat obsessive relationship with the Spanish baroque painter Diego Rodríguez de Silva y Velázquez (1599 - 1660). Bacon’s admiration for Velázquez, especially for his “Portrait of Pope Innocent X.” (1650) had already been eminent in his “Painting 1946” (1946) and became ultimately evident in 1951, when his first series of papal images (“Pope I - III”) appeared. Altogether, from 1950 to 1965, Bacon produced no less than 25 reworkings of Velázquez’s painting; and even though his interest in the subject apparently decreased after 1953, he nevertheless accomplished a series of six ‘later popes’ in 1961 – a fact which, after all, reflects the intense struggle and artistic argument Bacon had with his predecessor during more than a decade of his lifetime.
Chapter Summary
1. Introduction: Outlines the painful aesthetic experience inherent in Francis Bacon's work and introduces the central focus on his 1953 study of Velázquez's portrait.
2. The Influence of Velázquez: Examines Bacon's long-term artistic obsession with Velázquez and the historical context of his papal image series.
3. Aesthetics of the Portrait: Discusses the contrast between Velázquez’s portrayal of absolute authority and Bacon’s deconstruction of that same subject.
4. Formal Analysis of the Study: Analyzes the technical alterations, such as the curtain, the blood, and the screaming expression, that redefine the subject's meaning.
5. Philosophical Implications and Conclusion: Explores the nihilistic and negative qualities of the work and concludes with Bacon's complex relationship to his own artistic legacy.
Keywords
Francis Bacon, Velázquez, Pope Innocent X, Portrait, Aesthetic Negativity, Nihilism, Human Condition, Art History, 20th Century Art, Painting, Expressionism, Scream, Authority, Death, Reinterpretation.
Frequently Asked Questions
What is the primary focus of this essay?
The essay analyzes Francis Bacon's 1953 painting "Study after Velázquez's Portrait of Pope Innocent X" to understand how it produces a disturbing effect and what that effect signifies regarding the human condition.
What are the central themes discussed in the work?
The central themes include the influence of historical masters, the transformation of religious imagery into secular angst, the concept of nihilism in art, and the aesthetic representation of human vulnerability.
What is the author's main research question?
The author seeks to determine how the specific visual elements of the painting achieve its characteristic disturbing impact and how this relates to Bacon's broader artistic argument with Velázquez.
Which scientific or analytical method does the author employ?
The author uses formal art historical analysis, comparing specific visual attributes of the original Velázquez painting with Bacon’s reworkings to interpret shifts in meaning and intent.
What does the main body of the text cover?
It covers the historical context of Bacon's interest in the Pope, the technical and formal changes made to the image, and the philosophical implications of these changes, specifically regarding death and nihilism.
Which keywords best characterize this publication?
The work is characterized by terms like Francis Bacon, aesthetic negativity, portraiture, nihilism, and the reinterpretation of classical art.
How does the author interpret the "curtain" element in Bacon's painting?
The author views the curtain as a formal device that helps interweave the figure of the Pope with the environment, creating a sense of "blurred spontaneity and instability" rather than a hidden background.
What is the significance of the "screaming face" mentioned in the text?
The scream is interpreted as an expression of the transience and vulnerability of human existence, serving as a powerful visual contrast to the self-confident, authoritative expression found in the original Velázquez portrait.
- Quote paper
- M.A. Björn David Herzig (Author), 2002, Francis Bacon's "Study after Velázquez's Portrait of Pope Innocent X.", Munich, GRIN Verlag, https://www.grin.com/document/141822
