Botero’s interest in religious imagery can be traced back to his childhood in Medellín, Colombia, where the Catholic Church was an omnipresent force in both public and private life. He recalled being struck by the grandeur of religious rituals and processions, especially the visual impact of bishops dressed in vibrant red vestments. These early memories deeply shaped his imagination and later found expression in his artworks. Rather than focus on religious doctrine, however, Botero used these figures to explore the symbolic power of form, color, and costume.

While his clerical subjects may appear exaggerated or even comical, they are not depicted with malice. Instead, they occupy a space somewhere between satire and nostalgia. Botero’s bishops and priests are neither wholly revered nor entirely mocked; they exist as visual explorations of cultural power, interpreted through a lens of playful exaggeration. Their plump faces, rounded bodies, and oversized garments echo Botero’s fascination with volume and sensuality, reinforcing his belief in the expressive potential of form.

Botero’s religious paintings also reflect his admiration for the Old Masters, particularly the painters of the Italian Renaissance. He drew inspiration from artists such as Giotto, Masaccio, Titian, and Rubens, embracing their mastery of space, composition, and color. His religious figures, while rooted in Latin American realities, often carry the weight and dignity of Renaissance portraiture—albeit reimagined in Botero’s unmistakable style. His fascination with the art of the Quattrocento helped him bridge classical traditions with modern themes, giving his bishops a sense of timelessness.

Color plays a vital role in these works. Botero often remarked on the limitations of modern clothing in providing visual excitement, which led him to gravitate toward the ornate vestments of Catholic clergy. The bright reds, deep purples, and golden accents of their ceremonial garb offered him a rich palette with which to experiment. Paintings like Bishop in the Forest exemplify this approach, placing a richly adorned bishop in a serene, fantastical landscape, where the contrast between figure and background heightens the sense of both absurdity and splendor.

Ultimately, Botero’s religious paintings are not simply critiques of ecclesiastical power, nor are they devotional images. They exist in a uniquely hybrid space, blending personal memory, artistic tradition, and social commentary.