Belshazzar's Feast, c.1635/38 by Rembrandt
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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.
White Flag by Jasper Johns, 1966
Portrait of a Young Man (Possibly Francesco Maria della Rovere), 1514
Raffaello Sanzio Raphael
Far, Far Away Soria Moria Palace Shimmered Like Gold, 1900
Theodor Severin Kittelsen
Man at his Bath, 1884
At a Café, 1880
Portrait of Richard Gallo, 1878
The Fields, a Plain in Gennevilliers, 1884
Belshazzar's Feast, c.1635/38
National Gallery London United Kingdom
Original Size:167.6 x 209.2 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 Rembrandt 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. Belshazzar's Feast by Rembrandt is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
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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.
Belshazzar's Feast is a painting by Rembrandt van Rijn created in about 1635. The source for the painting is the story of Belshazzar and the writing on the wall in the Old Testament Book of Daniel.
Narrative behind the Artwork
According to Daniel 5, King Belshazzar of Babylon held a banquet for a thousand of his nobles. As they drank wine from the sacred vessels of Solomon's Temple, "they praised the gods of gold and silver, of bronze, iron, wood and stone." Then, out of nowhere, a man's hand appeared and started to write with what seemed like light. The characters were in Hebrew, a language unfamiliar to Belshazzar, and proclaimed that, "Whoever shall read this writing and show me the interpretation thereof, shall be clothed with scarlet, and have of gold around his neck, and shall be the third ruler of the kingdom". Many wise men tried to decipher the mysterious writing on the wall but without success. The king became frustrated that the meaning could not be discovered.
The queen suggested that he employ the assistance of a man named Daniel. According to her, Daniel was in possession of the Holy Spirit and had the knowledge to interpret the writing. Daniel was brought before the king. He said "Keep your gifts and give your rewards to someone else" and told him what the words meant. The translation of the writing which is Mene, Mene, Tekel u-Pharsin. In English it means: "God has numbered the days of your kingdom and brought it to an end. You have been weighed on the scales and found wanting. Your kingdom is divided and given to the Medes and the Persians". As promised by the king, Daniel was clothed with scarlet, was given gold and became the third ruler of the Kingdom of Babylon. Later that night Belshazzar was slain and, as true to the writing on the wall, his kingdom was divided and Darius the Mede took over the kingdom.
The Netherlands prior to the end of the Eighty Years' War was part of the Holy Roman Empire and thus was Roman Catholic. However, cities such as Amsterdam, where Rembrandt lived, had substantial Jewish populations. The story of Belshazzar's Feast from the Holy Bible is an anecdote with which the art world and the general public would have been familiar.
Rembrandt painted many works based on stories from the Bible besides Belshazzar's Feast (1635), including "Return of the Prodigal Son" (1638) and "Christ with the Sick around Him" (1649).
Although in 17th century Netherlands religious artwork was not commissioned by the Protestant church this did not stop Rembrandt from creating scripture based works. Rembrandt's intention when creating Belshazzar's Feast was to convey the morals of religious scripture in a visual form so it could be easily understood by the general public which was at the time largely illiterate.
Belshazzar's Feast was an attempt to establish Rembrandt as a painter of large, baroque history paintings. The figures in Belshazzar's Feast are not attractive but they are shown realistically: Rembrandt has tried to capture the moment at which the banqueters stare, in amazement and terror, at the mysterious hand. The people have wrinkles and other blemishes which show that Rembrandt did not paint perfection. He liked the audience to see the eyes of the figures to reinforce the mood of the painting. This is apparent if the audience looks closely in Belshazzar's Feast at the central figure of the King of Babylon and the queen sitting next to him. They have a look of surprise and the detail around the eyes reinforces this notion.
The mood of the painting is alarm and surprise. This is shown through Rembrandt's distinctive manipulation of light and shadow by means of altering the texture, potency, direction of stroke subtly achieve the desired mood. This is called Chiaroscuro. Light and shadows play a significant role in developing the mood of Belshazzar's Feast especially around the hand that writes on the wall and the reflection of King Belshazzar's royal cloak. The shadows are used to hide the unnecessary or distracting details and light is used to illuminate the faces of the figures.
The materials used for Belshazzar's Feast were oil on canvas and this allowed Rembrandt to manipulate the paint to create defined shadows, light, atmosphere, motion and mood. Signs and symbols are used to subtly convey the morals and biblical message across to the audience. The hand that is writing the message on the wall is male. This clearly represents the Almighty God. The vessel that has been tipped over is a Holy Communion cup which represents the blasphemy that took place at the feast. The gold which is reflecting off the royal cloak that the king is wearing epitomizes the wealth of the Kingdom of Babylon.
The composition of this artwork shows evidence of planned organisation. This is apparent in the placement of the figures and the use of light so that the eye of the audience is drawn towards the writing on the wall then the central figure of King Belshazzar. The light illuminating from the writing on the wall seems to reflect off the eyes of the figures, the king's cloak and the vessels. Observers in the painting are shown in varying degrees and facing different direction yet looking at the same point in the top right hand corner. Rembrandt emphasized the dramatic posture of King Belshazzar.
The aesthetic principals are a significant component of this art work. The texture on the faces of the figures is used to make the scene more realistic. Warm vibrant colours and the use of diaphanous light are also used to create a life like effect. These aesthetic principals distinguish Rembrandt art work
Rembrandt lived in the Jewish Quarter of Amsterdam and "derived the form of Hebrew inscription from a book by his friend, the learned Rabbi and printer, Menasseh ben Israel, yet mistranscribed one of the characters and arranged them in columns, rather than right to left, as Hebrew is written." This last detail may be a reference to a Jewish tradition that the words were unintelligible to any but Daniel because they were written vertically. (Other explantions have also been offered as to why the Babylonians were unable to read words in their own language.)