 Although Bacon revered Velázquez 's portrait , he did not try and reproduce the earlier painting . In interviews , he said that he saw flaws in Velázquez 's work and that he viewed that social structure and order as , according to art historian Wieland Schmied , " obsolete and decayed " . Bacon 's approach was to elevate his subject so he could knock him down again , thereby making a sly comment on the treatment of royalty in both old master and contemporary painting . Yet Velázquez 's influence is apparent in many aspects of the painting . The sitter 's pose closely echoes the original , as does the violet and white colouring of his cope , which is built up through broad , thick , brush @-@ strokes . The influence can be further seen in the gold @-@ coloured ornaments on the back of the seat that extend on both sides of the figure . Art historian Armin Zweite describes the work as a mixture of reverence and subversion that pays tribute to Velázquez , while at the same time deconstructs his painting . 
 Although Bacon revered Velázquez <a href='null_genetive' title='1'><mark>'s</mark></a>portrait , he did not try and reproduce the earlier painting . In interviews , he said that he saw flaws in Velázquez <a href='null_genetive' title='2'><mark>'s</mark></a>work and that he viewed that social structure and order as , according to art historian Wieland Schmied , " obsolete and decayed " . Bacon <a href='null_genetive' title='3'><mark>'s</mark></a>approach was to elevate his subject so he could knock him down again , thereby making a sly comment on the treatment of royalty in both old master and contemporary painting . Yet Velázquez <a href='null_genetive' title='4'><mark>'s</mark></a>influence <a href='drop_aux' title='5'><mark>is</mark></a>apparent in many aspects of the painting . The sitter <a href='null_genetive' title='6'><mark>'s</mark></a>pose closely <a href='uninflect' title='7'><mark>echoes</mark></a> the original , as <a href='uninflect' title='8'><mark>does</mark></a> the violet and white colouring of his cope , which is built up through broad , thick , brush @-@ strokes . The influence can be further seen in the gold @-@ coloured ornaments on the back of the seat <a href='null_relcl' title='9'><mark>that</mark></a>extend on both sides of the figure . Art historian Armin Zweite <a href='uninflect' title='10'><mark>describes</mark></a> the work as a mixture of reverence and subversion <a href='null_relcl' title='11'><mark>that</mark></a><a href='uninflect' title='12'><mark>pays</mark></a> tribute to Velázquez , while at the same time deconstructs his painting . 
Although Bacon revered Velázquez  portrait , he did not try and reproduce da earlier painting . In interviews , he said dat he saw flaws in Velázquez  work and tdathe viewed that social structure and order as , according to art historian Wieland Schmied , " obsolete and decayed " . Bacon  approach was to elevate his subject soo he could knock em dwn again , thereby making a sly comment on the treatment of royalty in both old master and contemporary painting . Yet Velázquez  influence apparent in many aspects of tdapainting . The sitter  pose closely echo thdariginal , as do thedaolet and white colouring of his cope , which is built up through broad , thick , brush @-@ strokes . The influence can b further seen in the dad @-@ coloured ornaments on the bdaof the sedaextend on both sides of the figure . Art historian Armin Zweite describe the work as a mixture of reverence and subversion pay tribute to Velázquez , while at the samdaime deconstructs his painting .