Maurice quentin de la tour
1704-88 French pastellist. He was one of the greatest pastellists of the 18th century, an equal of Jean-Sim?on Chardin and Jean-Baptiste Perronneau. Unlike them, however, he painted no works in oils. Reacting against the stately portraits of preceding generations and against the mythological portraits of many of his contemporaries, La Tour returned to a more realistic and sober style of work. The fundamental quality of his art lies in his ability to suggest the temperament and psychology of his subjects by means of their facial expression, and thereby to translate their fugitive emotions on to paper: 'I penetrate into the depths of my subjects without their knowing it, and capture them whole', as he himself put it. His considerable success led to commissions from the royal family, the court, the rich bourgeoisie and from literary, artistic and theatrical circles.

 

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Maurice quentin de la tour Self-Portrait oil painting   

Painting ID::  26909
Maurice quentin de la tour
Self-Portrait
mk52 c.1735 Pastel on paper 61.5x50.5cm Uffizi,Florence

   
   
     

 

 

Maurice quentin de la tour Self-Portrait Wearing a Jobot oil painting   

Painting ID::  26911
Maurice quentin de la tour
Self-Portrait Wearing a Jobot
mk52 c.1751 Pastel on paper 64x53cm Musee de Picardie,Amiens

   
   
     

 

 

Maurice quentin de la tour Henry Dawkins oil painting   

Painting ID::  43249
Maurice quentin de la tour
Henry Dawkins
mk171 circa 1750 Pastel on paper,mounted on canvs 66.7x53.3cm

   
   
     

 

 

Maurice quentin de la tour Saint Sebastian Tended by Irene oil painting   

Painting ID::  84082
Maurice quentin de la tour
Saint Sebastian Tended by Irene
early 1630s cyf

   
   
     

 

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Maurice quentin de la tour
1704-88 French pastellist. He was one of the greatest pastellists of the 18th century, an equal of Jean-Sim?on Chardin and Jean-Baptiste Perronneau. Unlike them, however, he painted no works in oils. Reacting against the stately portraits of preceding generations and against the mythological portraits of many of his contemporaries, La Tour returned to a more realistic and sober style of work. The fundamental quality of his art lies in his ability to suggest the temperament and psychology of his subjects by means of their facial expression, and thereby to translate their fugitive emotions on to paper: 'I penetrate into the depths of my subjects without their knowing it, and capture them whole', as he himself put it. His considerable success led to commissions from the royal family, the court, the rich bourgeoisie and from literary, artistic and theatrical circles.