The Buffoon, Pablo de Valladolid, c.1635 by Velazquez
Actual Painted Size: $563.00 ...:
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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.
The Shepherd’s Prayer, 1864
Baking Bread, 1889
Portrait of Johann Sebastian Bach, c.1746/48
Elias Gottlob Haussmann
Harmony (The Three Graces), c.1541/44
Hans Baldung Grien
Endymion Porter and Anthony van Dyck, c.1635
Sir Anthony van Dyck
Offering to Ceres, c.1619
The Buffoon, Pablo de Valladolid, c.1635
Prado Museum Madrid Spain
Original Size:209 x 123 cm
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. The Buffoon, Pablo de Valladolid by Velazquez 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.
The portrait is dated about 1635 and represents after the Calabazas, a moment of fundamental importance in Velazquez' work. The large figure, painted black on black, is set against a silver grey ground more or less animated by its own light, which flashes in the area between the feet and the cast shadows, and in the right margin of the picture, contrasting with the black suit and cape.
Almost as if rediscovering the pure relationship of body and space defined by shadows, the artist has eliminated all definite limits, and only by indicating the projection of the shadows, has conferred on the composition a character as vehement as an apparition, at the same time establishing a solid architectonic balance. The result was not easy to attain, as is indicated by the numerous afterthoughts or pentimenti that are seen especially in the lower part of the picture, where the static structure, obtained by means of a jet of light, achieves its maximum intensity.
Several other works of Velazquez - the portrait of Admiral Pareja, and those of the jesters Morra and Barbarroja - share in this search for an "environmental fusion" (Camon Aznar), in which the data of experience are transformed into an interior vision. It is an affirmation of the artist's conception according to which every object or being is an actor in the "theatre of the world," as Calderon put it. Everyone's identity must be preserved, in artistic form, in a choral series of "portraits" that make up the infinitely animated universe.