Georges de La Tour | |
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| Born | (1593-03-13)13 March 1593 Vic-sur-Seille, Duchy of Lorraine |
| Died | 30 January 1652(1652-01-30) (aged 58) Lunéville, Duchy of Lorraine |
| Notable work | The Fortune Teller Joseph the Carpenter Magdalene at a Mirror The Card Sharp with the Ace of Diamonds |
| Movement | Baroque |
| Patrons | Henry II, Duke of Lorraine |
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Georges de La Tour (French pronunciation:[ʒɔʁʒdəlatuʁ]; 13 March 1593 – 30 January 1652) was aFrenchBaroque painter, who spent most of his working life in theDuchy of Lorraine, which was temporarily absorbed intoFrance between 1641 and 1648. He painted mostly religiouschiaroscuro scenes lit by candlelight.
Artist at the confluence of Nordic, Italian, and French cultures, and a contemporary ofJacques Callot and theLe Nain brothers, La Tour is a keen observer of everyday reality. His pronounced taste for plays of light and shadow makes him one of the most original successors ofCaravaggio.
Recognised during his lifetime, he was quickly forgotten after his death. Rediscovered in the early 20th century by German art historianHermann Voss, he later inspired writers as diverse asRené Char,André Malraux,Pascal Quignard, andCharles Juliet.
Georges de La Tour was born in the town ofVic-sur-Seille in theDiocese of Metz, which was technically part of theHoly Roman Empire, but had been ruled by France since 1552. Baptism documentation revealed that he was the son of Jean de La Tour, a baker, and Sybille de La Tour, née Molian. It has been suggested that Sybille came from a partly noble family.[1] His parents had seven children in all, with Georges being the second-born.
La Tour's educational background remains somewhat unclear, but it is assumed that he traveled either to Italy or the Netherlands early in his career. He may possibly have trained underJacques Bellange inNancy, the capital of Lorraine, although their styles are very different. His paintings reflect theBaroquenaturalism ofCaravaggio, but this probably reached him through the DutchCaravaggisti of theUtrecht School and other Northern (French andDutch) contemporaries. In particular, La Tour is often compared to the Dutch painterHendrick Terbrugghen.[2]
In 1617 he married Diane Le Nerf, from a minor noble family, and in 1620 he established his studio in her quiet provincial home-town ofLunéville, part of the independentDuchy of Lorraine which was occupied by France, during his lifetime, in the period 1641–1648. He painted mainly religious and some genre scenes. He was given the title "Painter to the King" (of France) in 1638, and he also worked for the Dukes of Lorraine in 1623–4, but the local bourgeoisie provided his main market, and he achieved a certain affluence. He is not recorded in Lunéville between 1639 and 1642, and may have traveled again;Anthony Blunt detected the influence ofGerrit van Honthorst in his paintings after this point. He was involved in aFranciscan-led religious revival in Lorraine, and over the course of his career he moved to painting almost entirely religious subjects, but in treatments with influence fromgenre painting.[2]
Georges de La Tour and his family died in 1652 in an epidemic in Lunéville. His son Étienne (1621–1692) was his pupil.
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La Tour's early work shows influences fromCaravaggio, probably via his Dutch followers, and the genre scenes of cheats—as inThe 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 DutchCaravaggisti 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, usingchiaroscuro, 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 thanJusepe de Ribera and hisTenebrist followers did.[2]
He often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of theEducation of the Virgin in theFrick 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 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.[3]
After his death at Lunéville in 1652, La Tour's work was forgotten until rediscovered in 1915 byHermann Voss,[4] a German art historian who would later become head of Hitler'sFührermuseum;[5] some of La Tour's work had in fact been confused withVermeer, when the Dutch artist underwent his own rediscovery in the nineteenth century.
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