The Harlot of Babylon (2022) Painting by Cyril Emmanuel (X the Villain)

Acrylic on Canvas, 22.1x30.9 in
$1,480.49
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Fine art paper, 8x11 in

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This artwork appears in 1 collections
  • Original Artwork (One Of A Kind) Painting, Acrylic on Canvas
  • Dimensions Height 22.1in, Width 30.9in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Paintings under $5,000 Classicism Religion
In The Harlot of Babylon, the prophecy of Revelation 12–13 is brought to life in a striking vision of power, deception, and judgment. The harlot, depicted as the Pope, sits atop the monstrous beast—a creature of seven heads and ten horns, its grotesque form writhing beneath him. Cloaked in royal garments of purple, he holds a golden chalice, brimming [...]
In The Harlot of Babylon, the prophecy of Revelation 12–13 is brought to life in a striking vision of power, deception, and judgment. The harlot, depicted as the Pope, sits atop the monstrous beast—a creature of seven heads and ten horns, its grotesque form writhing beneath him. Cloaked in royal garments of purple, he holds a golden chalice, brimming with the blood of the saints, a chilling testament to persecution masked as piety.

The composition pulses with symbolic weight. The Pope, a figure of spiritual authority, is reimagined as an embodiment of corruption, riding the very force of chaos foretold in scripture. The beast, painted with gaping maws and horns, represents the nations and rulers that serve the harlot’s dominion, a system entwined with political and religious manipulation.

The color palette is rich yet foreboding—deep blue bleed into shadowed indigo, evoking both luxury and damnation. The textures of the beast’s flesh contrast with the smooth, almost divine appearance of the Pope, reinforcing the duality of perceived holiness and hidden horror.

This painting is not merely an illustration of prophecy; it is a confrontation. It asks the viewer to reflect on the nature of power, the distortion of faith, and the ultimate reckoning that Revelation foretells. In The Harlot of Babylon, scripture is transformed into a visual warning—one that dares us to see beyond the surface of authority and question what truly lies beneath.

Related themes

PopeBabylonRevelationProphecyEndtime

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Cyril Oluwamuyiwa Emmanuel alias X the Villain, is a contemporary conceptual and performance artist based in Lagos, Nigeria. Drawing heavily from his Yoruba heritage and Egyptian ancestry, Cyril's work is deeply [...]

Cyril Oluwamuyiwa Emmanuel alias X the Villain, is a contemporary conceptual and performance artist based in Lagos, Nigeria. Drawing heavily from his Yoruba heritage and Egyptian ancestry, Cyril's work is deeply rooted in culture, reflected in his use of palm oil for paintings, and charcoal for sculptures.
Self-taught and inspired by Leonardo da Vinci, Tehching Hsieh, Yinka Shonibare, and Jean Michel Basquiat, Cyril developed a distinctive style that explores African identities, cultures, and global history. His artworks often depict society's outcasts, addressing themes such as identity crisis, discrimination, and mental health. As an advocate for human rights and environmental sustainability, he aims to create immersive and interactive experiences accessible to all, including individuals with disabilities.
In the realm of performance art, X the Villain’s work is a visceral exploration of societal fractures caused by discrimination, racism, and segregation. He immerses himself in the raw narratives of these issues, pushing the boundaries of performance art to provoke profound introspection. Through his performances, he aspires to dismantle preconceptions, instigate uncomfortable conversations, and inspire collective reckoning with the complexities of our shared humanity. Every gesture and movement is a deliberate act aimed at breaking down the barriers that divide us, urging audiences to confront the uncomfortable truths embedded in our social fabric.

The Artist was highlighted in an article in ArtMajeur Magazine:

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