All Georges de La Tour Oil Paintings

1593-1652 French Georges de La Tour Galleries His early work shows influences from Caravaggio, probably via his Dutch followers, and the genre scenes of cheats??as in The Fortune Teller ??and fighting beggars clearly derive from the Dutch Caravaggisti, and probably also his fellow-Lorrainer, Jacques Bellange. These are believed to date from relatively early in his career. La Tour is best known for the nocturnal light effects which he developed much further than his artistic predecessors had done, and transferred their use in the genre subjects in the paintings of the Dutch Caravaggisti to religious painting in his. Unlike Caravaggio his religious paintings lack dramatic effects. He painted these in a second phase of his style, perhaps beginning in the 1640s, using chiaroscuro, careful geometrical compositions, and very simplified painting of forms. His work moves during his career towards greater simplicity and stillness ?? taking from Caravaggio very different qualities than Jusepe de Ribera and his Tenebrist followers did. He often painted several variations on the same subjects, and his surviving output is relatively small. His son Etienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of the Education of the Virgin, in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of de La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints. After his death in 1652, La Tour's work was largely forgotten until rediscovered by Hermann Voss, a German scholar, in 1915. In 1935 an exhibition in Paris began the revival in interest among a wider public. In the twentieth century a number of his works were identified once more, and forgers tried to help meet the new demand; many aspects of his œuvre remain controversial among art historians.
 

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Georges de La Tour The Cheat with the Ace of Diamonds oil on canvas


The Cheat with the Ace of Diamonds
The Cheat with the Ace of Diamonds
Painting ID::  86545
  Oil on canvas, ca. 1635. cyf
  Oil on canvas, ca. 1635. cyf

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Georges de La Tour Boy Blowing at Lamp oil on canvas


Boy Blowing at Lamp
Boy Blowing at Lamp
Painting ID::  86913
  1640(1640) Medium Oil on canvas cyf
  1640(1640) Medium Oil on canvas cyf

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Georges de La Tour Schlagerei der Musikanten oil on canvas


Schlagerei der Musikanten
Schlagerei der Musikanten
Painting ID::  87188
  Date 1625-1630 Medium Oil on canvas cjr
  Date 1625-1630 Medium Oil on canvas cjr

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Georges de La Tour Bubende Maria Magdalena oil on canvas


Bubende Maria Magdalena
Bubende Maria Magdalena
Painting ID::  87581
  Date 1625-1650 Medium Oil on canvas Dimensions 133,4 x 102,2 cm cjr
  Date 1625-1650 Medium Oil on canvas Dimensions 133,4 x 102,2 cm cjr

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Georges de La Tour Das Neugeborene oil on canvas


Das Neugeborene
Das Neugeborene
Painting ID::  88104
  1645-1648 Medium Oil on canvas cjr
  1645-1648 Medium Oil on canvas cjr

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     Georges de La Tour
     1593-1652 French Georges de La Tour Galleries His early work shows influences from Caravaggio, probably via his Dutch followers, and the genre scenes of cheats??as in The Fortune Teller ??and fighting beggars clearly derive from the Dutch Caravaggisti, and probably also his fellow-Lorrainer, Jacques Bellange. These are believed to date from relatively early in his career. La Tour is best known for the nocturnal light effects which he developed much further than his artistic predecessors had done, and transferred their use in the genre subjects in the paintings of the Dutch Caravaggisti to religious painting in his. Unlike Caravaggio his religious paintings lack dramatic effects. He painted these in a second phase of his style, perhaps beginning in the 1640s, using chiaroscuro, careful geometrical compositions, and very simplified painting of forms. His work moves during his career towards greater simplicity and stillness ?? taking from Caravaggio very different qualities than Jusepe de Ribera and his Tenebrist followers did. He often painted several variations on the same subjects, and his surviving output is relatively small. His son Etienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of the Education of the Virgin, in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of de La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints. After his death in 1652, La Tour's work was largely forgotten until rediscovered by Hermann Voss, a German scholar, in 1915. In 1935 an exhibition in Paris began the revival in interest among a wider public. In the twentieth century a number of his works were identified once more, and forgers tried to help meet the new demand; many aspects of his œuvre remain controversial among art historians.

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