This work is one of a series of variants of the Velazquez painting which Bacon executed throughout the 1950's and early 1960's, over a total of forty-five works. When asked why he revisted Velazquez so often, Bacon replied that it was not for religious reasons relating to the Pope. Born in Ireland, Bacon's childhood was marked by social and religious tension. However, Bacon was known for having a negative view of Christianity, calling the religion an "anodyne". In addition, the figure of the pope can be interpreted from the perspective of psychoanalysis. The root of the word pope- papa- associates with the figure of the father and Bacon had a particularly turbulent relationship with his own father who was vehemently opposed to his son's homosexuality and desires to become a painter.

Thematically, this painting is filled with blood and pain, with violence and horror, and refers to death as a moment of transition. Yet, the story of this death, the mystery of how it happened, is not there for us to read. This work from the series of screaming popes', just like the painting of the 'life mask',
raises questions about the relationship between representability
and subjectivity, and it is no coincidence that death provides
the thematic venue for those questions. (Alphen)