Tonight I was reading about Francis Bacon’s Study after Velázquez’s Portrait of Pope Innocent X, and the painting itself really, deeply started to creep me out. It’s not hard to see why: Bacon fucks with Velázquez’s classicism, tearing the composition apart with those rippling vertical lines. With its open mouth, the once-papal figure looks terrified, as if it’s being torn apart. It’s very dynamic, yet very ghostly. It’s a pleasant reminder that horror in visual art is not confined to film.
It’s also not surprising that Bacon’s nightmarish, agony-stricken canvases would have echoes in later cinematic horrors. Famously, a shot of a corpse suspended from a cage in The Silence of the Lambs was based on Bacon’s Figure with Meat. The Screaming Pope is also strikingly similar to the poster for David Cronenberg’s Scanners. The works of both Bacon and Cronenberg are heavily concerned with the pliability and deformation of human flesh, a topic that’s inherently a source of horror. Death to Velázquez, long live the new flesh?