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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Georges de La Tour Frau mit dem Floh oil


Frau mit dem Floh
Painting ID::  89994
Frau mit dem Floh
1625-1650 Medium oil on canvas cjr
1625-1650 _ Medium_oil_on_canvas _ cjr
   
   
     

Georges de La Tour The Adoration of the Shepherds oil


The Adoration of the Shepherds
Painting ID::  90202
The Adoration of the Shepherds
c. 1644(1644) Medium oil on canvas Dimensions 107 x 137 cm (42.1 x 53.9 in) cjr
   
   
     

Georges de La Tour Die Wurfelspieler oil


Die Wurfelspieler
Painting ID::  90673
Die Wurfelspieler
1650-1651 Medium oil on canvas cjr
1650-1651 _ Medium_oil_on_canvas _ cjr
   
   
     

Georges de La Tour Der Falschspieler, mit Karoass oil


Der Falschspieler, mit Karoass
Painting ID::  91235
Der Falschspieler, mit Karoass
1633 - 1639 Medium oil on canvas cjr
1633_-_1639 _ Medium_oil_on_canvas _ cjr
   
   
     

Georges de La Tour Bubende Maria Magdalena oil


Bubende Maria Magdalena
Painting ID::  91570
Bubende Maria Magdalena
1628-1645 Medium oil on canvas Dimensions 113 x 93 cm (44.5 x 36.6 in) cyf
   
   
     

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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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