Descent from the Cross, c.1435 by van der Weyden
Actual Painted Size: $5091.00 ...:
We can make your art reproduction to look aged and cracked as the museum original.
You can select the aged look effect from the menu under the image of the painting.
Free WorldWide Standard Shipping (10-14 business days) $0.00 USD
EMS (5-6 business days)
FedEx (3-4 business days)
The price for priority and express shipping depends on the weight, the volume, and the destination of the parcel. You can check the shipping cost of your order in the shopping cart screen.
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.
Water Lilies, 1906
Hip, Hip, Hurrah! Artist Festival at Skagen, 1888
Peder Severin Kroyer
A Moonlit Vegetable Market, 1855
Petrus van Schendel
The Absinthe Drinker, 1901
Mater Dolorosa, c.1470/75
Mater Dolorosa, undated
The Woman Taken in Adultery, c.1527/29
Descent from the Cross, c.1435
Prado Museum Madrid Spain
Original Size:220 x 262 cm
This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.
The Time it Takes to be Created:To paint your van der Weyden 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. Descent from the Cross by van der Weyden 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.
This marks the moment of the artist's maturity and is one of the most monumental conceptions. The scene, as in contemporaneous sculpture, directly relates to theatrical performances.
The space is a narrow stage on which the sculptural figures are compressed in twos - threes at the centre - that do not protrude beyond the architectural setting. Walls close off the stage. The ground is rocky and has flowers growing in it. The composition moves from St. John to the Magdalen on the right.
In this large curve, the fainting Madonna and the lifeless body of Christ inscribe two big, repeating ellipses, moving laterally and arrested above by other curves moving in the opposite direction. This web of agitated motion (to which other associated elements are connected) also has repercussions from front to back in the entangled and embracing figures. The complex thus organized in a narrow space, within a reduced volume, assumes an agitated, dramatic quality through the containment of geometric and volumetric rhythms. This is reinforced by internally connected flows and returns, which require a visual itinerary that is continuous, but rich in breaks and contrasts.
To this compositional drama is added the plastic elements of the figures and the drapery - restless and fragmented - as well as the discontinuous rhythm of the distances both aboye and below of the intersecting solids and voids. The artist does not spare sumptuous and brilliant notes in the grandiose composition, which achieves by stylistic means a rare power of tragic representation.