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.
 

       Prev  2  3  4  5  6  7  8  9  10  11   Next
  Prev Artist       Next Artist     

   
    

Georges de La Tour Carpenter Saint Joseph oil on canvas


Carpenter Saint Joseph
Carpenter Saint Joseph
Painting ID::  57263
  mk255 for in 1642. 1.37 x 1.02 meters canvas. Paris, the Louvre
  mk255 for in 1642. 1.37 x 1.02 meters canvas. Paris, the Louvre

Height    Width


  INS/CM       Quality

X

  

Georges de La Tour St Joseph oil on canvas


St Joseph
St Joseph
Painting ID::  59532
  St Joseph, 1642, Louvre
  St Joseph, 1642, Louvre

Height    Width


  INS/CM       Quality

X

  

Georges de La Tour Hurdy gurdy player oil on canvas


Hurdy gurdy player
Hurdy gurdy player
Painting ID::  59533
  Hurdy-gurdy player, Nantes. By "the Hurdy-gurdy" master?
  Hurdy-gurdy player, Nantes. By "the Hurdy-gurdy" master?

Height    Width


  INS/CM       Quality

X

  

Georges de La Tour Nativity, Louvre oil on canvas


Nativity, Louvre
Nativity, Louvre
Painting ID::  59535
  Nativity, Louvre
  Nativity, Louvre

Height    Width


  INS/CM       Quality

X

  

Georges de La Tour The Fortune Teller oil on canvas


The Fortune Teller
The Fortune Teller
Painting ID::  59536
  The Fortune Teller
  The Fortune Teller

Height    Width


  INS/CM       Quality

X

  

       Prev  2  3  4  5  6  7  8  9  10  11   Next
Prev Artist       Next Artist     

     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.

ARTISTABCDEFGHIJKLMNOPQRSTUVWXYZ
A
rt Work: ABCDEFGHIJKLMNOPQRSTUVWXYZ


CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Wholesale Frame Moulding Mirror Framed Stretched Paintings