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Georges de La Tour
Dice players
Dice players, ca. 1651, probably his last work. Preston Hall Museum in Stockton.
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Georges de La Tour
Portrait of an Old Man,
Portrait of an Old Man, De Young Museum, San Francisco
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Georges de La Tour
Brawl, Getty Museum
Brawl, Getty Museum (Hurdy-gurdy group)
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Georges de La Tour
St Jerome
St Jerome (Hurdy-gurdy group)
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Georges de La Tour
St Jerome
St Jerome (Hurdy-gurdy group)
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Georges de La Tour
Georges de La Tour
Technique Deutsch: Öl auf Leinwand
Dimensions 61 X 51 cm (24.02 X 20.08 in)
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Georges de La Tour
Knabe blast in eine Lampe
Medium Oil on canvas
Dimensions 61 x 51 cm
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Georges de La Tour
jeune chanteur
mk289 1640-1650 leicester museum and art gallery
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Georges de La Tour
Schlagerei der Musikanten,
1625 - 1630
Oil on canvas
cjr
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Georges de La Tour
Saint Sebastian Tended by Irene
early 1630s
Medium Oil on canvas
cyf
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Georges de La Tour
The Cheat with the Ace of Diamonds
Oil on canvas, ca. 1635.
cyf
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Georges de La Tour
Boy Blowing at Lamp
1640(1640)
Medium Oil on canvas
cyf
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Georges de La Tour
Schlagerei der Musikanten
Date 1625-1630
Medium Oil on canvas
cjr
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Georges de La Tour
Bubende Maria Magdalena
Date 1625-1650
Medium Oil on canvas
Dimensions 133,4 x 102,2 cm
cjr
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Georges de La Tour
Das Neugeborene
1645-1648
Medium Oil on canvas
cjr
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Georges de La Tour
Frau mit dem Floh
1625-1650
Medium oil on canvas
cjr
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Georges de La Tour
The Adoration of the Shepherds
c. 1644(1644)
Medium oil on canvas
Dimensions 107 x 137 cm (42.1 x 53.9 in)
cjr
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Georges de La Tour
Die Wurfelspieler
1650-1651
Medium oil on canvas
cjr
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Georges de La Tour
Der Falschspieler, mit Karoass
1633 - 1639
Medium oil on canvas
cjr
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Georges de La Tour
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
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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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