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.  Related Paintings of Georges de La Tour :. | Hurdy-Gurdy Player (mk08) | Ijob will mock of its woman | Die Wurfelspieler | Petrus | St Jerome |
Related Artists:
Johann Caspar Schneider
Rhine valley by Johann Caspar Schneider in 1820
Francisco Antolinez y Sarabia
Spanish Painter , Seville circa 1644-circa1700
Jan Veth
(18 May 1864 Dordrecht - 1 July 1925 Amsterdam), was a Dutch painter, poet, art critic and university lecturer. Jan Veth was the son of Gerradus Huibert Veth, a Dordrecht iron merchant and liberal politician, and Anna Cornelia Giltay. On his mother's side he descended from the Dordrecht painter family of Van Strij (his mother was a granddaughter of Jacob van Strij). He married Anna Dorothea Dirks on 10 August 1888, from which marriage came five children. Veth received his art education at the Rijksakademie voor Beeldende Kunsten in Amsterdam. With several of his fellow students he founded the St. Luke group. From 1885 he worked with the painter Anton Mauve in Laren. After his marriage in 1888 he settled in Bussum. Jan Veth is especially noted as a portrait painter. Amongst his sitters were Max Liebermann, Lambertus Zijl, Frank van der Goes, Antoon Derkinderen and other contemporaries including various fellow painters. In addition he was a well-known poet, belonging to the Eighties movement and publishing work in the De Nieuwe Gids. He designed the cover for "De Kleine Johannes", a book written by his friend, Frederik van Eeden, contributing to the development of book-art in Holland. As Professor Extraordinary in History of Art and Aesthetics, he was associated with the Rijksakademie voor Beeldende Kunsten in Amsterdam.