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.
Em resumo
De todas as obras originais deixadas por Robert Tournières, a mais famosa é Pomona (1739), da coleção do Nationalmuseum, em Estocolmo. Logo atrás vêm Portrait of an Old Man (Guillaume de Lisle?) (1700) e Michel Corneille l'Aîné (1642-1708) (1702). Nosso catálogo contém 18 obras de Robert Tournières; a galeria preservou as 16 que o mundo mais admira, cada uma exibida com sua data, seu museu e sua história.
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…
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Robert Tournières | Pinturas desta lista |
|---|---|---|---|
| Estocolmo | 1 | Pomona | |
| Versalhes | 1 | Michel Corneille l'Aîné (1642-1708) | |
| Birmingham | 1 | Portrait of Richard (Dicky) Bateman | |
| Dijon | 1 | Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) | |
| Budapeste | 1 | Count Ferdinand Adolf von Plettenberg and his Family | |
| Paris | 1 | Concert | |
| São Petersburgo | 1 | Portrait of Unknown Woman as Hebe | |
| Nantes | 1 | Portrait of the Maupertuis family |
Escolha uma década para ver a obra original que a define.
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), Nationalmuseum, Estocolmo. Portrait of an Old Man (Guillaume de Lisle?) (1700) e Michel Corneille l'Aîné (1642-1708) (1702) vêm a seguir.
72 anos: Pomona data de 1739, e Robert Tournières nasceu em 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 e Pierre Louis Moreau de Maupertuis. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 18 obras de Robert Tournières, datadas de 1690 a 1750.
Principalmente em Nationalmuseum (Estocolmo), Opera de Versalhes (Versalhes) e Birmingham Museum and Art Gallery (Birmingham). A tabela de museus acima lista todos eles.
Em 1700s: 2 das 16 obras nesta página foram feitas então, sendo Portrait of an Old Man (Guillaume de Lisle?) delas.
Nesta página, a mais antiga é Concert (1690) e a mais recente é Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) (1750).
Portraits (3) e Portraiture (2), entre as 16 obras nesta página.
Oil On Canvas, para 3 das 16 obras nesta página.
Rococo, a julgar pelos originais nesta página.
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.