Georges de la Tour. Entre ombre et lumière.
The exhibition
Recognized as an essential figure in French painting since his late rediscovery, Georges de La Tour dazzles in this autumn retrospective with his infinitely plastic painting, a luminous redefinition in dark harmonies.
A native of Vic, an episcopal town serving as the countryside retreat for the prelates of Metz, Georges de La Tour excites the imagination of historians with the sparse documentation that exists about him and the few obscure examples of his life, especially his artistic activity, that have survived. Born in 1593 to a baker, more precisely a flour supplier and merchant, a lucrative trade in those times of renewed conflict on the margins of a buffer state subject to invasions, the destruction of archives meant that he only entered history in 1616 when he countersigned a baptismal register. Married the following year to Diane le Nerf, a member of the minor nobility of Lunéville, he set up his workshop in this other pleasure city, lovingly adorned by Henri II of Lorraine (1563-1624), while continuing his father's business.
Excerpt from the article by Vincent Quéau published in issue No. 115 of the magazine Art Absolument.
A native of Vic, an episcopal town serving as the countryside retreat for the prelates of Metz, Georges de La Tour excites the imagination of historians with the sparse documentation that exists about him and the few obscure examples of his life, especially his artistic activity, that have survived. Born in 1593 to a baker, more precisely a flour supplier and merchant, a lucrative trade in those times of renewed conflict on the margins of a buffer state subject to invasions, the destruction of archives meant that he only entered history in 1616 when he countersigned a baptismal register. Married the following year to Diane le Nerf, a member of the minor nobility of Lunéville, he set up his workshop in this other pleasure city, lovingly adorned by Henri II of Lorraine (1563-1624), while continuing his father's business.
Excerpt from the article by Vincent Quéau published in issue No. 115 of the magazine Art Absolument.
When
11/09/2025 - 25/01/2026