The Sublime in Francis Bacon's Study after Velázquez’s Portrait of Pope Innocent X (1953)

Study after Velázquez’s Portrait of Pope Innocent X - Francis Bacon (1953)

If we examine Francis Bacon’s oil painting Study after Velázquez’s Portrait of Pope Innocent X (1953) we may argue that this painting is a great example of the sublime. We may support this claim by referencing Edmund Burke’s text on the matter and see how this painting falls under many of Burke’s categories that characterise this notion of the sublime.

Burke says that, “astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror” (page 53) when we look at Bacon’s painting we are arguably overcome with astonishment and horror by the Pope’s silent scream. Although our own physical safety isn’t threatened when we look at the painting we still find ourselves struck with terror and fear at the ideas that possibly lie behind the Pope’s grotesque features and begs us to ask why he is screaming, and why this ‘scream’ strikes at our collective fear?

There is an obscurity to Bacon’s painting, not simply with regard to the reasons behind the Pope’s scream but with the actual composition itself. As Burke suggests, “when we know the full extent of any danger, when we can accustom our eyes to it a great deal of the apprehension vanishes” (page 54). If we apply this to the painting we may argue that if the Pope’s figure were not obscured by Bacon’s brushstrokes perhaps we would not find the painting so terrifying and therefore would consider it less sublime.

This particular painting is Bacon’s reinterpretation of Velázquez’s original portrait. Velázquez presents us with a portrait that bares more likeness to the real Pope Innocent X than Bacon does; and yet it is Bacon’s painting that is arguably more sublime as it follows Burke’s notion that “uncertain images have a greater power on the fancy to form the grander passions than those have which are more clear and determinate” (page 58).

If we agree with Burke that, “power derives all its sublimity from the terror with which it is generally accompanied”, we may suggest that once again Bacon’s painting is illustrative of the sublime. The image arguably presents the idea of pain (and as the prospect of pain is a source of terror it is therefore sublime) in the form of spiritual torment. We may wish to go further and suggest that since it is the Pope who is in this state of psychological turmoil and not just an arbitrary figure, the painting possibly represents the power of religion, specifically Christianity. We may interpret a religious reading of this painting in many ways. Does it illustrate the idea that the Pope considers the possibility that there is no God? Do we see it as a deity punishing a sinful mankind? Or should we interpret it as the tensions that exist between the nobleness of good intensions against the baser, cruel instincts of man? There are possibly countless interpretations to a religious reading of this painting but in almost all of them mankind does not fare well. We are either condemned as sinners or abandoned by a deity that possibly never existed to begin with. Arguably then Bacon illustrates the sublime in mankind’s lack of power and subservience toward a possible deity.

Burke suggests that, “Another source of the sublime, is infinity” and that it “has a tendency to fill the mind with that sort of delightful horror, which is the most genuine effect, and truest test of the sublime” (page 67). If we chose to interpret this painting as being illustrative of a loss of faith this may well fill us with fear and horror at the mere idea of an infinite nothingness after death.

The successive strokes of dark and light paint which fill the painting and obscure the Pope’s figure also suggests the notion of the sublime; as does Bacon’s choice of palette with the predominant colours being black, white, purple and yellow. Here the white and yellow are so bright and garish that they are almost uncomfortable to look upon. The use of yellow and purple together are arguably reminiscent of danger, decay and death; whilst the combination of white and purple conjure up nightmarish images of ghosts and ghouls. The presence of blackness in this painting possibly follows Burke’s assertion that, “blackness will always have something melancholy in it, because the sensory will always find the change to it from others too violent” (page 135). This may certainly be the case here where the juxtaposition between dark and bright colours cause discomfort and puts us in a state of unease.

Despite this we are arguably drawn toward Study after Velázquez’s Portrait of Pope Innocent X.  Bacon captivates us with his representation of horror and torment. We are astonished and terrified, yet we find it hard to tear ourselves away.