乔治·德·拉·托尔Georges de La Tour出生在洛雷纳的杜卡多的一个小村庄里。杜卡多当时是位于神圣罗马帝国的版图内的一个独立的地区，在一百五十年之后，这块土地被划入了法国的版图之中。乔治是面包师的儿子，关于他的有据可查的记载开始与1616年。
乔治·德拉图尔出生在镇Vic-sur-Seille在教区的梅茨,这是技术上的一部分神圣罗马帝国自1552年以来,但一直由法国统治。洗礼的文档显示,他的儿子Jean德拉图尔贝克,和Sybille德拉图尔,姓Molian。有人建议,Sybille部分来自于一个贵族家庭。他的父母一共有7个孩子,乔治被老二的。
洛杉矶旅游的教育背景仍然有些不清楚,但人们认为他旅行到意大利或荷兰在他职业生涯的早期。他可能已经训练雅克Bellange在南希洛林的首都,虽然他们的风格是不同的。他的作品反映了巴洛克式的自然主义的卡拉瓦乔,但这可能达到他的荷兰Caravaggisti乌特勒支学派和其他北部(法国和荷兰同时代的人。特别是,洛杉矶旅游常被比作荷兰画家亨德里克Terbrugghen.
在1617年他与黛安娜结婚勒削弱,从一个小贵族家庭,1620年,他建立了他的工作室在她安静的省级的家乡吕内维尔,独立的一部分洛林公爵领地被法国占领,在他有生之年,1641 - 48。他画主要宗教和一些类型的场景。他得到了标题“画家王”(法国)1638年,他还曾为洛林公爵在1623 - 4,但当地中产阶级提供了他的主要市场,他取得了一定的财富。他不是记录在吕内维尔在1639 - 42岁,可能旅行;安东尼冲检测的影响Gerrit van Honthorst在他的画作。他卷入了一场方济会修士在洛林主导宗教复兴,在他的职业生涯中他搬到了绘画几乎完全宗教题材,但在治疗风俗画的影响。
乔治·德拉图尔和他的家人死于1652年在吕内维尔的流行病。他的儿子艾蒂安(生于1621年)是他的学生。
洛杉矶之旅的早期作品显示的影响卡拉瓦乔荷兰,可能通过他的追随者,流派的cheats-as场景算命的——战斗乞丐显然来自荷兰Caravaggisti fellow-Lorrainer可能也,雅克Bellange。这些据信日期从相对在他职业生涯的早期。
洛杉矶之旅最出名的是夜间光线的影响,他比他的艺术前辈做了进一步的开发,和转移他们的使用在荷兰的绘画题材Caravaggisti宗教绘画在他。与卡拉瓦乔他的宗教绘画缺乏戏剧性的效果。他画这些在第二个阶段,他的格,也许从1640年代开始,使用明暗对比的,仔细的几何构图,和非常简化的绘画形式。他的工作在他的职业生涯走向更大的简单性和stillness-taking从卡拉瓦乔非常不同的质量比Jusepe de Ribera和他的Tenebrist追随者。
他经常画一些变体在同一主题,和他幸存的输出是相对较小。他儿子艾蒂安是他的学生,区分他们的工作版本的洛杉矶之旅的作品是很困难的。处女,教育的版本弗里克收藏在纽约是一个例子,博物馆本身承认。另一组油画(左)例子,伟大的技能但自称是不同风格的洛杉矶之旅,已经被归因于一个未知的“手摇风琴大师”。所有显示年长的男性人物(一组在马里布包括女性),大多是孤独的,乞丐或圣人。
在他死后1652年在吕内维尔,洛杉矶旅游的工作被赫尔曼·沃斯遗忘,直到重新发现,德国学者;1915年洛杉矶旅游的一些工作实际上混淆了维米尔,当荷兰艺术家在19世纪经历了自己的重新发现。1935年在巴黎的一个展览在更广泛的公众的兴趣开始复苏。在20世纪的再次确定了他的作品,和伪造者试图帮助满足新需求;他的许多方面œuvre之间仍有争议艺术历史学家.
Georges de La Tour was born in the town of Vic-sur-Seille in the Diocese of Metz, which was technically part of the Holy 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 travelled either to Italy or the Netherlands early in his career. He may possibly have trained underJacques Bellange in Nancy, the capital of Lorraine, although their styles are very different. His paintings reflect the Baroque naturalism of Caravaggio, but this probably reached him through the Dutch Caravaggisti of the Utrecht School and other Northern (French and Dutch) contemporaries. In particular, La Tour is often compared to the Dutch painter Hendrick Terbrugghen
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 of Lunéville, part of the independent Duchy of Lorrainewhich was occupied by France, during his lifetime, in the period 1641-48. 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 in 1639–42, and may have travelled again; Anthony Bluntdetected the influence of Gerrit van Honthorst in his paintings after this point. He was involved in a Franciscan-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 from genre painting.[2]
Georges de La Tour and his family died in 1652 in an epidemic in Lunéville. His son Étienne (born 1621) was his pupil.
La Tour's 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 Étienne 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 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 at Lunéville in 1652, La Tour's work was forgotten until rediscovered by Hermann Voss, a German scholar, in 1915; some of La Tour's work had in fact been confused with Vermeer, when the Dutch artist underwent his own rediscovery in the nineteenth century. 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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