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 St.Irene Removing Arrows from St.Sebastian's Leg oil


St.Irene Removing Arrows from St.Sebastian's Leg
Painting ID::  2358
St.Irene Removing Arrows from St.Sebastian's Leg

   
   
     

Georges de La Tour The Repentant Magdalen oil


The Repentant Magdalen
Painting ID::  2359
The Repentant Magdalen
1635 National Gallery of Art, Washington DC
1635_ National_Gallery_of_Art,_Washington_DC
   
   
     

Georges de La Tour St Sebastian Tended by St Irene (mk05) oil


St Sebastian Tended by St Irene (mk05)
Painting ID::  20562
St Sebastian Tended by St Irene (mk05)
Canvas,66 x 51 1/2''(167 x 131 cm)Given in 1979
Canvas,66_x_51_1/2''(167_x_131_cm)Given_in_1979
   
   
     

Georges de La Tour The Adoration of the Shepherds (mk05) oil


The Adoration of the Shepherds (mk05)
Painting ID::  20564
The Adoration of the Shepherds (mk05)
Canvas,42 1/4 x 51 1/2''(107 x 131 cm)Acquired in 1926
Canvas,42_1/4_x_51_1/2''(107_x_131_cm)Acquired_in_1926
   
   
     

Georges de La Tour Hurdy-Gurdy Player (mk08) oil


Hurdy-Gurdy Player (mk08)
Painting ID::  21563
Hurdy-Gurdy Player (mk08)
c.1620-1630 Oil on canvas,162x105cm Nantes,Musee des Beaux-Arts
   
   
     

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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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