All LA TOUR, Maurice Quentin de Oil Paintings

French Rococo Era Painter, 1704-1788 French pastellist. He was one of the greatest pastellists of the 18th century, an equal of Jean-Simeon 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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LA TOUR, Maurice Quentin de Self-Portrait oil on canvas


Self-Portrait
Self-Portrait
Painting ID::  33777 		  mk86 1751 Pastel 64.5x53cm Amiens,Musee de Picardie
  mk86 1751 Pastel 64.5x53cm Amiens,Musee de Picardie

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LA TOUR, Maurice Quentin de Self-Portrait oil on canvas


Self-Portrait
Self-Portrait
Painting ID::  64695 		  1751 Pastel on paper Mus?e de Picardie, Amiens Artist:LA TOUR, Maurice Quentin de Title: Self-Portrait, 1701-1750, French , painting , portrait
  1751 Pastel on paper Mus?e de Picardie, Amiens Artist:LA TOUR, Maurice Quentin de Title: Self-Portrait, 1701-1750, French , painting , portrait

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     LA TOUR, Maurice Quentin de
     French Rococo Era Painter, 1704-1788 French pastellist. He was one of the greatest pastellists of the 18th century, an equal of Jean-Simeon 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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