100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
LA TOUR, Maurice Quentin de Maurice, Comte de Saxe, Marshal of France sg
LA TOUR, Maurice Quentin de1.jpg 1748
Pastel on paper, 59,5 x 49 cm
Gemäldegalerie, Dresden
LA TOUR, Maurice Quentin de Mlle Ferrand Meditating on Newton f
LA TOUR, Maurice Quentin de2.jpg 1753
Pastel on paper, 73 x 60 cm
Alte Pinakothek, Munich
LA TOUR, Maurice Quentin de Self-Portrait
new22/LA TOUR, Maurice Quentin de-994663.jpg 1751 Pastel on paper Mus?e de Picardie, Amiens Artist:LA TOUR, Maurice Quentin de Title: Self-Portrait, 1701-1750, French , painting , portrait
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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