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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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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Georges de La Tour
Das gute Schicksal
1633-1639
Medium oil on canvas
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Georges de La Tour
Die Wurfelspieler
1650-1651
Medium oil on canvas
Dimensions 92,2 X 130,5 cm
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Georges de La Tour
Alte
1625-1630
Medium oil on canvas
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Georges de La Tour
Magdalena Wrightsman
1625-1650
Medium oil on canvas
Dimensions 133,4 X 102,2 cm
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Georges de La Tour
Petrus
1645(1645)
Medium oil on canvas
Dimensions 114 X 95 cm
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Georges de La Tour
Hl. Philippus
1624-1650
Medium oil on canvas
Dimensions Deutsch: 63 X 52 cm
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Georges de La Tour
Hl. Jacobus der Jungere
1624-1650
Medium oil on canvas
Dimensions 66 X 54 cm (26 X 21.3 in)
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Georges de La Tour
Bubender Hl. Hieronymus
1624-1650
Medium oil on canvas
Dimensions 157 x 100 cm
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Georges de La Tour
Blind Hurdy-Gurdy Player
1610-1630
Medium oil on canvas
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Georges de La Tour
Fortune Teller
1630
Type Oil painting
Dimensions 101.9 cm x 123.5 cm
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Georges de La Tour
The New born
1640s
Medium oil on canvas
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Georges de La Tour
Bubender Hl Hieronymus
1624-1650
Medium oil on canvas
Dimensions 157 x 100 cm
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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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