In the twenty-first century Leong Chon painted the series Diego Velázquez Innocent X in the form of an electronic painting. The title of the work suggests that it is not a copy nor an imitation, but rather a dissection and reconstruction of Velázquez's work in the manner of Francis Bacon.
The ability to preserve, reproduce and disseminate images of reality through cameras and scanners has made it possible for more people to see Velasquez's Innocent X in digital form in modern times. Whereas Velázquez in the seventeenth century perfectly captured the reality of Pope Innocent X on canvas, Leong Chon in the twenty-first century has digitally recorded the imperfection of the digitised oil pain...