David with the Head of Goliath and Two Soldiers, c.1620/22 Valentin de Boulogne (c.1594-1632)

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 Valentin de Boulogne 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 David with the Head of Goliath and Two Soldiers is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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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.

In Valentin de Boulogne’s "David with the Head of Goliath and Two Soldiers," c. 1620/22, the viewer is thrust into the aftermath of one of the most violent triumphs in biblical history. Boulogne captures David in a moment of chilling calm, holding the massive, decapitated head of Goliath - his expression somewhere between exhaustion and reflection. Blood drips from Goliath’s head onto the stone table, the grim trophy of a victory over impossible odds. David’s face is youthful and pensive, framed by a tousled shock of hair, his torso bare except for the loose garment that clings to his shoulder, a nod to his rustic origins.

Boulogne’s palette is rich and earthy, reminiscent of the deep tones favored by Caravaggio, his acknowledged master. There’s a harshness to the darks - a black that swallows light - while the reds and greens carry an almost metallic sheen. Notice the shocking vibrancy of the blood-red fabric on the soldier’s sleeve, which catches a slant of light, or the gleaming silver highlights on the armor that cut through the shadows. This is a scene wrapped in tenebroso, the intense chiaroscuro that emphasizes the brutal, immediate physicality of the moment. The colors feel alive, as if the scene could shift under our gaze, the figures breathing.

The composition is tightly focused, the three figures pushed close together, each face illuminated with a different shade of expression. The soldier on the left, mouth slightly open, is caught in a visceral reaction - a mixture of horror and astonishment as he recoils from the severed head. David, by contrast, is contemplative, his gaze unflinching as he looks towards an unseen horizon, perhaps lost in thought over the magnitude of his act. The soldier on the right, clad in heavy armor, looks out at us, drawing us into the tension of the scene, as if daring us to confront the aftermath of violence.

This painting is an early work, yet Boulogne’s attention to texture and emotion is already evident. There’s an almost tactile quality to the skin, the fabric, the blood. The work’s power lies in its restraint - the figures are solid, grounded, yet there’s a coiled energy in their expressions. Boulogne invites us to ponder the reality behind this legendary victory - not as a distant story, but as a raw, palpable moment, suspended in time.