Glass Frame > Fine Art Finder > Artists > Antoine Coypel
Glass Frame : The Moroccan Ambassador and his Entourage at the Italian Comedy in Paris in February 1682, c
Resolution may be poor at this size (86 DPI)
Mounted Prints from Fine Art Finder
The Moroccan Ambassador and his Entourage at the Italian Comedy in Paris in February 1682, c
XIR237916 The Moroccan Ambassador and his Entourage at the Italian Comedy in Paris in February 1682, c.1682 (oil on canvas) by Coypel, Antoine (1661-1722); 28x22 cm; ChAteau de Versailles, France; (add.info.: l ambassadeur du Maroc et sa suite a la comedie Italienne; ); French, out of copyright
Media ID 12768296
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Audience Commedia Dellarte North African
7"x5" Glass Mount
Wall mounted or free-standing, these black edged glass frames feature a smooth chamfered edge and a stylish black border (on back face of the glass). Manufactured from 4mm thick glass, Glass Mounts are a durable, professional way of displaying and protecting your prints. Your 7x5 print is slotted into the back of the frame so can easily be changed if needed.
Tempered Glass Mounts are ideal for wall display, plus the smaller sizes can also be used free-standing via an integral stand
Estimated Image Size (if not cropped) is 12.7cm x 17.7cm (5" x 7")
Estimated Product Size is 16.2cm x 20.3cm (6.4" x 8")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
EDITORS COMMENTS
In this oil on canvas print by Antoine Coypel, we are transported back to February 1682 in Paris. The scene depicts "The Moroccan Ambassador and his Entourage at the Italian Comedy" a momentous occasion that took place at the renowned Château de Versailles. As we gaze upon the painting, our eyes are immediately drawn to the central figure - the Moroccan Ambassador himself. Dressed in opulent attire and adorned with an elegant turban, he exudes regality and authority. Surrounding him is his entourage, equally resplendent in their traditional North African garments. The focus of the composition shifts towards a theater box where they sit as spectators. Their expressions reveal a mix of curiosity and delight as they immerse themselves in the world of entertainment provided by the commedia dell'arte performance unfolding before them. Coypel's masterful brushstrokes capture not only the grandeur of this historical event but also provide us with a glimpse into cross-cultural exchange during this period. It serves as a testament to France's diplomatic relations with Morocco and highlights how art can bridge cultural divides. This remarkable piece invites us to reflect on history, diplomacy, and artistic expression. It reminds us that even centuries ago, people from different backgrounds came together through shared experiences like theater performances - proving that art truly knows no boundaries or borders.
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