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Oil Paintings Come From United Kingdom
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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 oil painting

Painting ID::  91797

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Georges de La Tour
Das gute Schicksal
1633-1639 Medium oil on canvas cjr
   
   
     

 

 

Georges de La Tour Die Wurfelspieler oil painting

Painting ID::  91875

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Georges de La Tour
Die Wurfelspieler
1650-1651 Medium oil on canvas Dimensions 92,2 X 130,5 cm cjr
   
   
     

 

 

Georges de La Tour Alte oil painting

Painting ID::  91959

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Georges de La Tour
Alte
1625-1630 Medium oil on canvas cyf
   
   
     

 

 

Georges de La Tour Magdalena Wrightsman oil painting

Painting ID::  92313

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Georges de La Tour
Magdalena Wrightsman
1625-1650 Medium oil on canvas Dimensions 133,4 X 102,2 cm cyf
   
   
     

 

 

Georges de La Tour Petrus oil painting

Painting ID::  92316

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Georges de La Tour
Petrus
1645(1645) Medium oil on canvas Dimensions 114 X 95 cm cyf
   
   
     

 

 

Georges de La Tour Hl. Philippus oil painting

Painting ID::  92617

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Georges de La Tour
Hl. Philippus
1624-1650 Medium oil on canvas Dimensions Deutsch: 63 X 52 cm cjr
   
   
     

 

 

Georges de La Tour Hl. Jacobus der Jungere oil painting

Painting ID::  92689

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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) cjr
   
   
     

 

 

Georges de La Tour Bubender Hl. Hieronymus oil painting

Painting ID::  93623

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Georges de La Tour
Bubender Hl. Hieronymus
1624-1650 Medium oil on canvas Dimensions 157 x 100 cm cjr
   
   
     

 

 

Georges de La Tour Blind Hurdy-Gurdy Player oil painting

Painting ID::  93899

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Georges de La Tour
Blind Hurdy-Gurdy Player
1610-1630 Medium oil on canvas cjr
   
   
     

 

 

Georges de La Tour Fortune Teller oil painting

Painting ID::  94819

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Georges de La Tour
Fortune Teller
1630 Type Oil painting Dimensions 101.9 cm x 123.5 cm cyf
   
   
     

 

 

Georges de La Tour The New born oil painting

Painting ID::  96131

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Georges de La Tour
The New born
1640s Medium oil on canvas cyf
   
   
     

 

 

Georges de La Tour Bubender Hl Hieronymus oil painting

Painting ID::  98258

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Georges de La Tour
Bubender Hl Hieronymus
1624-1650 Medium oil on canvas Dimensions 157 x 100 cm cyf
   
   
     

 

       Prev    1  2  3  4

 

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.