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 Bauernapaar oil painting


Bauernapaar
mk186 eating peas around 1622-25 Berlin foundation national Museem, Gemaldegalerie
Painting ID::  45585
Georges de La Tour
Bauernapaar
mk186 eating peas around 1622-25 Berlin foundation national Museem, Gemaldegalerie
   
   
     

Georges de La Tour The incorrect player oil painting


The incorrect player
mk186 1620-40 Paris muse you Louvre
Painting ID::  45653
Georges de La Tour
The incorrect player
mk186 1620-40 Paris muse you Louvre
   
   
     

Georges de La Tour The botfardiga Maria Magdalena oil painting


The botfardiga Maria Magdalena
mk234 about 1635 113x93cm
Painting ID::  53832
Georges de La Tour
The botfardiga Maria Magdalena
mk234 about 1635 113x93cm
   
   
     

Georges de La Tour the fortune teller oil painting


the fortune teller
mk247 c.1632 to 35,oil on canvas,40x49 in,102x123.5 cm,metropolitan museum of art,new york,ny,usa
Painting ID::  56062
Georges de La Tour
the fortune teller
mk247 c.1632 to 35,oil on canvas,40x49 in,102x123.5 cm,metropolitan museum of art,new york,ny,usa
   
   
     

Georges de La Tour st.joseph the carpenter oil painting


st.joseph the carpenter
mk247 1635 to 40,oil on canvas,54x40 in,137x101 cm,louvre,paris,france
Painting ID::  56065
Georges de La Tour
st.joseph the carpenter
mk247 1635 to 40,oil on canvas,54x40 in,137x101 cm,louvre,paris,france
   
   
     

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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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