Pomona
The artwork titled Pomona is a painting by the French artist Robert Tournières. This specific composition is a copy after the work of Aert de Gelder. The piece is dated to 1739.
باختصار
من بين جميع الأعمال الأصلية التي تركها Robert Tournières، تُعد Pomona (1739) هي الأشهر، وهي ضمن مجموعة المتحف الوطني في ستوكهولم. تأتي بعدهما مباشرة كل من Portrait of an Old Man (Guillaume de Lisle?) (1700) و Michel Corneille l'Aîné (1642-1708) (1702). يضم كتالوجنا 18 من أعمال Robert Tournières؛ حيث احتفظ المعرض بـ 16 من أكثر الأعمال التي يعجب بها العالم، مع عرض كل منها مع تاريخها ومتحفها وقصتها.
The artwork titled Pomona is a painting by the French artist Robert Tournières. This specific composition is a copy after the work of Aert de Gelder. The piece is dated to 1739.
A Glimpse of Aristocratic Life: Robert Le Vrac de Tournières’ “Count Ferdinand Adolf von Plettenberg and His Family” Robert Le Vrac de Tournières' 1727 painting, "Count Ferdinand Adolf von Plettenberg and His Family," is more than just a portrait; it’s a meticulously crafted window into the refined world of 18th-century European aristocracy. The scene unfolds within a richly appointed interior – likely a salon or drawing room – dominated by…
Robert Le Vrac de Tournières: Bridging Dutch Intimacy and Rococo Elegance Robert Le Vrac de Tournières (1667–1752) stands as an intriguing figure in the annals of French Baroque painting, embodying a pivotal transitional period where influences from the Netherlands intertwined with the burgeoning stylistic sensibilities of the Rococo era. Unlike many contemporaries who adhered rigidly to established conventions, Tournières skillfully blended elements of Dutch genre scenes—characterized by their candid portrayal…
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
المتاحف الـ 8 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Robert Tournières | لوحات من هذه القائمة |
|---|---|---|---|
| ستوكهولم | 1 | Pomona | |
| فرساي | 1 | Michel Corneille l'Aîné (1642-1708) | |
| برمنغهام | 1 | Portrait of Richard (Dicky) Bateman | |
| ديجون | 1 | Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) | |
| بودابست | 1 | Count Ferdinand Adolf von Plettenberg and his Family | |
| باريس | 1 | Concert | |
| سانت بطرسبرغ | 1 | Portrait of Unknown Woman as Hebe | |
| نانت | 1 | Portrait of the Maupertuis family |
اختر عقداً لتشاهد العمل الأصلي الذي يجسده.
Robert Le Vrac de Tournières: Bridging Dutch Intimacy and Rococo Elegance Robert Le Vrac de Tournières (1667–1752) stands as an intriguing figure in the annals of French Baroque painting, embodying a pivotal transitional period where influences from the Netherlands intertwined with the burgeoning stylistic sensibilities of the Rococo era. Unlike many contemporaries who adhered rigidly to established conventions, Tournières skillfully blended elements of Dutch genre scenes—characterized by their candid portrayal…
The artwork titled Pomona is a painting by the French artist Robert Tournières. This specific composition is a copy after the work of Aert de Gelder. The piece is dated to 1739.
Pomona (1739)، المتحف الوطني, ستوكهولم. ويليها Portrait of an Old Man (Guillaume de Lisle?) (1700) وMichel Corneille l'Aîné (1642-1708) (1702).
عمر 72 عاماً: يعود تاريخ Pomona إلى 1739، وقد وُلد Robert Tournières في 1667.
Pomona, Portrait of an Old Man (Guillaume de Lisle?), Michel Corneille l'Aîné (1642-1708), Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain, Portrait of Richard (Dicky) Bateman, Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727), Dibutade Drawing, by the Light of a Lamp, the Portrait of His Lover, Count Ferdinand Adolf von Plettenberg and his Family, Concert و Pierre Louis Moreau de Maupertuis. يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 18 من أعمال Robert Tournières، التي يعود تاريخها من 1690 إلى 1750.
توجد غالبيتها في المتحف الوطني (ستوكهولم), دار الأوبرا الملكية في فرساي (فرساي) و Birmingham Museum and Art Gallery (برمنغهام). يدرج جدول المتاحف أعلاه جميعها.
في 1700s: تم إنجاز 2 من أصل 16 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Portrait of an Old Man (Guillaume de Lisle?).
في هذه الصفحة، أقدم الأعمال يعود إلى Concert (1690) وأحدثها يعود إلى Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) (1750).
Portraits (3) و Portraiture (2)، عبر 16 من الأعمال في هذه الصفحة.
Oil On Canvas، لـ 3 من أصل 16 من الأعمال في هذه الصفحة.
Rococo، بناءً على الأعمال الأصلية في هذه الصفحة.
Robert Le Vrac de Tournières was born in Caen, France, in 1667. His artistic journey began with studies under Lucas Delahaye, a respected painter of the time. He further honed his skills under the tutelage of Bon Boullogne and Rigaud, both prominent figures in French painting, setting the stage for a successful career.
Tournières’ artistic style reflects a fascinating transitional period within French art. He skillfully blended elements of Dutch intimacy – particularly evident in his genre scenes – with the emerging lightness and elegance that would come to define the Rococo style. His palette was noted for its delicate coloring, and he demonstrated a keen talent for capturing both pose and drapery. While not considered among the most powerful painters of his era, critics acknowledged his careful technique and refined execution.
Tournières achieved significant recognition during his lifetime, being received into the Académie royale de peinture twice. The first acceptance in 1702 was based on his portraiture skills, specifically portraits of fellow artists Pierre Mosnier and Michel Corneille. His second reception in 1716, as a history painter, came with his work Invention of Drawing (1716), depicting a romantic scene illuminated by candlelight. Although many of his large-scale paintings have been lost to time, numerous smaller works survive, showcasing his mastery of detail and character portrayal.
Tournières was deeply influenced by Dutch masters such as Godfried Schalken and Gerard Dou, dedicating considerable study to their techniques. This influence is visible in his attention to light, shadow, and the intimate portrayal of everyday life. He also drew inspiration from his teachers, incorporating elements of their styles into his own unique approach.
In 1737, Tournières was promoted to professeur auxiliaire, further solidifying his position within the artistic community. He continued to exhibit successfully at the Salon of 1742. However, he returned to Caen in 1749 and ceased painting. His father, an engraver, had familial connections through marriage to François Lemoyne. Despite fading from active practice, Tournières left behind a considerable body of portraits that remain highly regarded and are found in notable collections today.
Robert Le Vrac de Tournières occupies an important place as a transitional figure in French art. He embodies the shift from the more formal Baroque style towards the lighter, more decorative Rococo aesthetic. His ability to synthesize Dutch realism with emerging French sensibilities makes his work particularly valuable for understanding the evolution of 18th-century painting.