Surrender of Breda (Las Lanzas), c.1634/35 by Velazquez
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The effect of ageing gives one painting the charm of authentic and noble appearance. Such a art reproduction can add to any interior a unique look and a style.
The process of ageing of paintings completely conforms to the technology of oil painting.
See examples of art reproductions aged in our studio.
Adoration of the Child, c.1620
Gerrit van Honthorst
Sir Edwin Henry Landseer
Winter Landscape with Skaters near Dordrecht, undated
Jan van Goyen
Winter Landscape with Skaters near a Castle, undated
Frederik Marinus Kruseman
A Winter Landscape with Skaters on a Frozen River, 1867
Frederik Marinus Kruseman
View of the Merwede off Dordrecht, c.1660
Jan van Goyen
Skaters near Rotterdam, 1876
Painting Title:Surrender of Breda (Las Lanzas), c.1634/35
Artist:Diego Rodriguez de Silva Velazquez (1599-1660)
Prado Museum Madrid Spain
Original Size:307 x 367 cm
Painting Reproduction completely hand-painted with oil on blank linen canvas.
Creation Time:Your Velazquez Hand-Painted Art Reproduction must not be rushed as it need time for reaching the high quality and precision and also for getting dry. Depending of the complexity and the details of the painting, we need of several weeks for creation of the painting.
Shipping:We not frame oil painting reproductions. The Hand-Painted Art Reproduction is expensive product and the risk of damages during transport of stretched on a frame painting is too high. "Surrender of Breda (Las Lanzas)" by Velazquez is unframed and will be shipped rolled up in postal tube.
You can check the estimate shipping cost of your order in the shopping cart screen.
We create our paintings only with museum quality. Our academy educated European painters never allow compromise with the quality and the details. TOPofART not work with Far East wholesalers with poor quality.
This is one of the most important and problematical works of Velazquez. Despite the probable existence of preliminary drawings (for example, in the National Library, Madrid), the canvas underwent a very complicated process of development in successive stages, as X-rays have revealed (changes in the position of the horse, the central group, the position of the lances seen against the plain and the cloudy sky, etc.). The artist's own interest in this masterpiece is shown by his inclusion, on the far right, of a self-portrait. The surface is divided into four parts in a sensitive proportional modulation that intensifies the general dynamic rhythm. Against this rectangular division, around the central group of Nassau and Spinola, there are two curved banks of figures (with the big horse that is turning away): the general staff and the soldiers. Beyond them is the encampment with other lancers sketched in, and in the distance the city and its burning fortifications in the plain that extends to the distant horizon. All the figures are powerfully individualized portraits; the atmosphere is that of an action-camera shot, with everything caught in motion. It is a sunny day; the scene is inundated with vivid, transparent colours contrasting with the magnificent lances seen against the light, the halberds to the left, the moving shadows on the ground and the kaleidoscope of parade uniforms. There is neither rhetoric nor Spanish hauteur in this work; indeed, considering the time, it is a sort of calm and good-natured timbre that one registers, in part because Velazquez reduced but did not eliminate the original embrace of the victor and the vanquished.