A Favourite Custom, 1909 by Alma-Tadema
Actual Painted Size: $683.00 ...:
We can make your art reproduction to look aged and cracked as the museum original.
You can select the aged look effect from the menu under the image of the painting.
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The effects of ageing and antiqueness impart to a painting the charm of authenticity and nobility. Thus, a reproduction of a painting would impart unique style and appearance to any interior.
The process of making our painting reproductions look old and cracked is in absolute conformity with the technology of oil painting, and in no way does it damage the painting.
Please see some examples of art reproductions that have been made to look old in our studio.
Wild Cat, 1850
Faithful Unto Death, 1865
Sir Edward Poynter
The Shepherd’s Prayer, 1864
Baking Bread, 1889
Portrait of Johann Sebastian Bach, c.1746/48
Elias Gottlob Haussmann
Madonna and the Child with St Francis of Assisi, St John the Baptist, St Gregory the Great and St Margaret of Cortona, 1592
Harmony (The Three Graces), c.1541/44
Hans Baldung Grien
A Favourite Custom, 1909
Tate Gallery London United Kingdom
Original Size:66.1 x 45 cm
This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.
The Time it Takes to be Created:To paint your Alma-Tadema Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.
Shipping:We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. A Favourite Custom by Alma-Tadema is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
You can check the price for shipping the order on the shopping cart screen.
The paintings we create are only of museum quality. Our academically trained artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.
Alma-Tadema was Dutch by birth, and trained in Belgium before settling in London in 1870 and assuming British citizenship in 1873. His work was immensely popular in the late Victorian period. Knighted in 1899, he received the Order of Merit in 1905. In 1852 he had attended the Antwerp Academy and subsequently developed his taste for historical themes whilst working on the frescoes of Antwerp Town Hall as the assistant to Baron Henri Loy. Alma-Tadema's paintings of this period show a use of sombre colors and overtones of North Europe's Dark Ages. In 1863, his travels to Pompeii turned his attention to the ancient world, and he painted a series of classical subjects set in detailed interiors and rich in deep “Pompeian” colors. By 1870, his reputation in Britain was founded on paintings such as Phidias and the Parthenon (1868) in which he combined an interest in the life of the past, in its human aspects, with accurate settings culled from his study of archaeology.
Success came quickly and he was elected a member of the Royal Academy by 1879. The palette of his pictures lightened markedly in the 1890s, the settings became more generalized, and hints of narrative and of the mildly erotic crept into his work. Unconscious Rivals (1893) shows two richly dressed young women on a balcony overlooking the sea. The vaulted ceiling suggests a wealthy Roman villa on the coast, the title a narrative of desire, confirmed by the marble statue of Cupid and the languid posture of the women as they gaze over the balcony. To the right, the feet of a statue, based on the Seated Gladiator in the Lateran Museum, Rome, suggests that the object of these ladies' affections, according to the custom amongst wealthy Romans, was a suitably virile young gladiator.