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Georges de La Tour
The Penitent Magdalen
1640
Metropolitan Museum of Art, New York
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Georges de La Tour
The Cheat with the Ace of Clubs
c1647
Kimbell Art Museum, Fort Worth
38-1/2 x 61-1/2 in. (97.8 x 156.2 cm )
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Georges de La Tour
The Cheat with the Ace of Diamonds
c1647
Musee du Louvre, Paris
41.75" x 57.5"
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Georges de La Tour
The Fortune Teller
1632-35
Metropolitan Museum of Art, New York
102 x 123.5cm / 40.15" x48.62"
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Georges de La Tour
Joseph the Carpenter
1645
Musee du Louvre, Paris
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Georges de La Tour
St.Irene Removing Arrows from St.Sebastian's Leg
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Georges de La Tour
The Repentant Magdalen
1635
National Gallery of Art, Washington DC
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Georges de La Tour
St Sebastian Tended by St Irene (mk05)
Canvas,66 x 51 1/2''(167 x 131 cm)Given in 1979
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Georges de La Tour
The Adoration of the Shepherds (mk05)
Canvas,42 1/4 x 51 1/2''(107 x 131 cm)Acquired in 1926
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Georges de La Tour
Hurdy-Gurdy Player (mk08)
c.1620-1630
Oil on canvas,162x105cm
Nantes,Musee des Beaux-Arts
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Georges de La Tour
The Card-Sharp with the Ace of Spades (mk08)
c.1620-1640
Oil on canvas,
106x146cm
Paris,Musee National du Louvre
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Georges de La Tour
St Sebastian Attended by St Irene (mk08)
c.1634-1643
Oil on canvas
160x129cm
Berlin,Gemaldegalerie
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Georges de La Tour
Hurdy-Gurdy Player
mk86
c.1620-1630
Oil on canvas
162x105cm
Nantes,Musee des Beaux-Arts
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Georges de La Tour
The Card-Sharp with the Ace of Spades
mk86
c.1620-1640
Oil on canvas
106x146cm
Paris,Musee National du Louvre
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Georges de La Tour
St Sebastian Attended by St Irene
mk86
c.1634-1643
Oil on canvas
160x129cm
Berlin,Gemaldegalerie
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Georges de La Tour
Die Auffindung der Leiche des Hl.Sebastian
mk92
1649
167x130cm
Bois Anzeray
Pfarrkirche.z.Zt.Broglie.Pfarrkirche
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Georges de La Tour
Gilles
mk92
1721
184x149cm
Paris.
Louvre
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Georges de La Tour
The Education of the Virgin
mk29
c.1650
Oil on canvas
83.8x100.4cm
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Georges de La Tour
Ijob will mock of its woman
mk148
Illustration von Ijob 2,9-10.In der Bibel wird Ijobs frau nicht Namentlich erwähnt,In der Bibel wird Ijobs Frau nicht namentlich erwähnt,nach dem Testament Ijobs heißt sie Sitis
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Georges de La Tour
The apostle Thomas
mk148
The apostle holds became a javelin in the Handder legend after it in its martyr death of javelins durchbohrt (s. head text)
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| Georges de La Tour
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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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