This work's background is highly similar to Peter Snayers' earlier depiction of Isabel Clara Eugenia at the same location currently hanging in the same museum as this painting; our view of that background is obscured off-center.
An apparent error in this work's left-center far foreground has the rear of a brown hat visible through the side of a black hat. In the bottom-right corner of this painting, an unfolded blank page shines atop scrub and rocks. This work's background is highly similar to Peter Snayers' earlier depiction of Isabel Clara Eugenia at the same location currently hanging in the same museum as this painting; our view of that background is obscured off-center. Lines including the barrel of a shotgun shouldered by a (*) green-suited man looking directly out from far left and the edge of a blue-and-white checkered flag at right draw us toward the central figure, Ambrosio Spínola, who holds the lacquered wooden ovular tube and white-feathered black hat familiar from the artist's other portraits of nobles as he stands before a line of lancers receiving a large key. For 10 points, name this Prado-housed painting depicting the capitulation of a Dutch town, a 1635 work by Diego Velázquez.
An apparent error in this work's left-center far foreground has the rear of a brown hat visible through the side of a black hat.
The {Surrender} of {Breda} [or La {Rendición} de {Breda}; or Las {Lanzas}]