The Icebergs, 1861 Frederic Edwin Church (1826-1900)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Frederic Edwin Church also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Icebergs is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated 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.

Frederic Edwin Church’s "The Icebergs" is an audacious display of nature’s overwhelming, icy majesty - as if you’ve stumbled upon the frozen throne of some ancient titan. In the scene, towering blocks of ice dominate the landscape, their jagged surfaces almost luminescent in a blue-white glow. These structures are not simply depicted; they are monumental, almost alive, caught in some eternal, frosty silence. They thrust upward, casting cold shadows on the still, glassy water that mirrors their imposing grandeur.

The palette is cold but far from lifeless. Shades of blue, green, and white swirl together, with subtle pinks and grays creeping into the sky. The contrasts are startling - the sharpness of the ice against the smooth, reflective water, the eerie calm of the scene pierced by the jagged forms. Church’s brushwork is meticulous, giving texture to the ice’s rugged surfaces, making you feel as though you could reach out and snap off one of those frosty peaks.

The composition pulls you in slowly. First, your eye is drawn to the iceberg that dominates the center, with its sheer mass, but then you notice the wreckage in the foreground - a broken mast, remnants of some forgotten human endeavor. It’s a subtle hint of man’s fragility in the face of such natural power. The colors of the wreck - muted browns and dark reds - contrast against the icy blues, adding an emotional layer to the otherwise sterile, unyielding environment.

In "The Icebergs," Church transforms the Arctic into something almost mythical, balancing the serene with the menacing. This isn’t just a pretty picture of ice - it’s a statement, a meditation on the sublime power of nature and humanity’s smallness within it.