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 Die Auffindung der Leiche des Hl.Sebastian oil painting


Die Auffindung der Leiche des Hl.Sebastian
mk92 1649 167x130cm Bois Anzeray Pfarrkirche.z.Zt.Broglie.Pfarrkirche
Painting ID::  34359 		Georges de La Tour
Die Auffindung der Leiche des Hl.Sebastian
mk92 1649 167x130cm Bois Anzeray Pfarrkirche.z.Zt.Broglie.Pfarrkirche
   
   
     
Georges de La Tour Gilles oil painting


Gilles
mk92 1721 184x149cm Paris. Louvre
Painting ID::  34360 		Georges de La Tour
Gilles
mk92 1721 184x149cm Paris. Louvre
   
   
     
Georges de La Tour The Education of the Virgin oil painting


The Education of the Virgin
mk29 c.1650 Oil on canvas 83.8x100.4cm
Painting ID::  38215 		Georges de La Tour
The Education of the Virgin
mk29 c.1650 Oil on canvas 83.8x100.4cm
   
   
     
Georges de La Tour Ijob will mock of its woman oil painting


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
Painting ID::  39411 		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
   
   
     
Georges de La Tour The apostle Thomas oil painting


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)
Painting ID::  39455 		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
     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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