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Georges de La Tour
The Card-Sharp with the Ace of Diamonds
mk156
1635
Oil on canvas
106x146cm
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Georges de La Tour
Magdalene of the Night Light
mk156
1642-44
Oil on canvas
128x94cm
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Georges de La Tour
Young Christ with St.Joseph in the Capenter-s shop
mk156
c.1642
Oil on canvas
137x101cm
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Georges de La Tour
The Fortune Teller
mk161
Oil on canvas
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Georges de La Tour
The adoracion of the shepherds
mk166
First half of the 17th century.
I wave on cloth
107x131cm Museum of the Louvre, Paris
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Georges de La Tour
Bauernapaar
mk186
eating peas around 1622-25 Berlin foundation national Museem, Gemaldegalerie
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Georges de La Tour
The incorrect player
mk186
1620-40 Paris muse you Louvre
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Georges de La Tour
The botfardiga Maria Magdalena
mk234
about 1635
113x93cm
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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
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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
Carpenter Saint Joseph
mk255 for in 1642. 1.37 x 1.02 meters canvas. Paris, the Louvre
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Georges de La Tour
St Joseph
St Joseph, 1642, Louvre
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Georges de La Tour
Hurdy gurdy player
Hurdy-gurdy player, Nantes. By "the Hurdy-gurdy" master?
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Georges de La Tour
Nativity, Louvre
Nativity, Louvre
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Georges de La Tour
The Fortune Teller
The Fortune Teller
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Georges de La Tour
St Sebastian tended by St Irene
St Sebastian tended by St Irene
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Georges de La Tour
The Penitent Magdalene, Metropolitan
The Penitent Magdalene, Metropolitan
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Georges de La Tour
The cheat with the ace of diamonds
The cheat with the ace of diamonds, Kimbell Art Museum, Fort Worth, Texas. Another version is in the Louvre
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Georges de La Tour
The Newborn Christ
The Newborn Christ
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Georges de La Tour
The Dream of St. Joseph
The Dream of St. Joseph
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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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