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

Surrender of Breda (Las Lanzas), c.1634/35 von Velazquez | Leinwand Kunstdruck


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Leinwand Kunstdruck

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Gemälde Titel:

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

Künstler:

Diego Rodriguez de Silva Velazquez (1599-1660)

Standort:

Prado Museum Madrid Spain


Originalgröße:

307 x 367 cm

SKU:

VDZ-1046

Technik:

Ihre "Surrender of Breda (Las Lanzas)" Leinwand Kunstdruck individually handmade using sophisticated digital technology. The Giclee printing process gives the Art Print a vivid, pure colour, incredible details and the authentic charm of a museum original.

Produktionszeit:

If you have chosen Velazquez Leinwand Kunstdruck without a frame, it will be ready for shipping within 2-3 days. However, if you have chosen a framed painting, the framing process will take around 7-8 days.

Größen:

Our Art Prints are offered in sizes in exact proportions as the original paintings in the museums. You can increase or decrease the size, using purple-up or down arrows, located under the image of the painting. We add additional 3cm blank canvas around the offered size for stretching.

Versand:

The unframed "Surrender of Breda (Las Lanzas)" will be shipped rolled up in postal tube. The framed Leinwand Kunstdruck travel packed in a cardboard box. Due to postal restrictions, we do not frame paintings, when the length of the artwork is greater than 28" (71cm). You can check the estimate shipping cost for your order in the shopping cart screen.

Surrender of Breda (Las Lanzas), c.1634/35 | Velazquez | Leinwand Kunstdruck
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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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