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Surrender of Breda (Las Lanzas), c.1634/35 by Velazquez

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Surrender of Breda (Las Lanzas), c.1634/35 | Velazquez | Painting Reproduction
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Painting Title:

Surrender of Breda (Las Lanzas), c.1634/35


Artist:

Diego Rodriguez de Silva Velazquez (1599-1660)


Location:

Prado Museum Madrid Spain


SKU:

VDZ-1046

Original Size:

307 x 367 cm

Medium:

This reproduction of a painting will be completely painted by hand with oil on a blank linen canvas.



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To paint your Velazquez Hand-Painted Art Reproductiontime 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 Shipping:

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is expensive product and the risk of damages during transport of stretched on a frame painting is too high. " Hand-Painted Art Reproduction " bySurrender of Breda (Las Lanzas)is unframed and will be shipped rolled up in postal tube. Velazquez You can check the estimate shipping cost of your order in the shopping cart screen.
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Reviews (1)

Topic: Surrender of Breda (Las Lanzas), c.1634/35 by Velazquez
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Gygy
The Surrender of Breda
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.
16th March 2014 11:51pm

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