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

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

| Ölgemälde Reproduktion


5/5 | 1 Review

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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-1046-1076

Technik:

Gemälde Reproduktion sind vollständig handgemalt mit Öl auf leere leinwand.


Erzeugung Zeit:

Ihre Velazquez Handgemalte Reproduktion 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 3-4 weeks for creation of the painting.

Versand:

We not frame oil painting reproductions. The Handgemalte Reproduktion 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.
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Surrender of Breda (Las Lanzas), c.1634/35 | Velazquez | Gemälde Reproduktion
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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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