Christ in the House of Martha and Mary, 1618 by Velazquez
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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
Christ in the House of Martha and Mary, 1618
National Gallery London United Kingdom
Original Size:60 x 103.5 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 Velazquez 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. Christ in the House of Martha and Mary by Velazquez 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.
Kitchen Scene in the House of Martha and Mary dates from Velazquez's Seville period, painted shortly after he completed his apprenticeship with Pacheco. At this time, Velazquez was experimenting with the potential of the bodegone, a form of painting which was frequently used to relate scenes of contemporary Spain to themes and stories from the Bible. Often they contained depictions of people working with food and drink.
In this case, Velazquez has painted the interior of a kitchen with two half-length women to the left. On the table are a number of foods, perhaps the ingredients of an Alioli (a garlic mayonnaise made to accompany fish). These have been prepared by the maid. Extremely realistic, they were probably painted from the artist's own household as they appear in other bodegones from the same time.
In the background is a biblical scene, generally accepted to be the story of Martha and Mary (Luke 10). In it, Christ goes to the house of a woman named Martha. Her sister, Mary, sat at his feet and listened to him speak. Martha, on the other hand, went to "make all the preparations that had to be made". Upset that Mary did not help her, she complained to Christ to which he responded: "Martha, Martha, ... you are worried and upset about many things, but only one thing is needed. Mary has chosen what is better, and it will not be taken away from her." In the painting, Christ is shown as a bearded man in a blue tunic. He gesticulates at Martha, the woman standing behind Mary, rebuking her for her frustration.
The plight of Martha clearly relates to that of the maid in the foreground. She has just prepared a large amount of food and, from the redness of her creased puffy cheeks, we can see that she is also upset. To comfort her (or perhaps even to rebuke her), the elderly woman indicates the scene in the background reminding her that she can not expect to gain fulfillment from work alone. The maid, who cannot bring herself to look directly at the biblical scene and instead looks out of the painting towards us, meditates on the implications of the story.
This is probably the most likely interpretation of the painting. However scholars have given other readings of it. Some have argued over the identities of the characters, suggesting that the maid in the foreground is actually Martha herself and the lady standing in the background is just an incidental character.
Another point of contention is over the representation of the background. On one hand, we may be looking at a mirror or through a hatch at the biblical scene. If so, it would imply that the whole painting, foreground and background, is set in Christ's time and would perhaps lend weight to the argument that the maid in the foreground is Martha. On the other hand, the biblical scene may just be a painting which is hung in the maid's kitchen. Given that the bodegones usually represent images of contemporary Spain, many have thought that this is probably the most likely explanation. However, the National Gallery say that following cleaning and restoration in 1964, it is now clear that the smaller scene is framed by a hatch or aperture through the wall. The suggestion of other possibilities, especially that of the scene as a painting, may remain as an element in the meaning of the work.
Whatever the truth of this is, we can appreciate this as an early example of Velazquez's interest in layered composition, a form also known as "paintings within the painting". He continually exploited this form throughout his career. Other examples of this are Kitchen Scene with the Supper in Emmaus (1618), Las Hilanderas (1657) and his masterpiece Las Meninas (1656).
There is a second version of the painting, with significant differences, in an American collection.
This work may demonstrate the influence of Flemish art. A painting which also shows a contemporary kitchen scene (albeit presented in a completely different way) with Christ, Martha and Mary in the background is The Four Elements: Fire, painted by Beuckelaer in 1570. It is possible that Velazquez had access to an engraving of this work.