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.
Kortfattat
Av alla originalverk som Robert Tournières lämnade efter sig är det mest kända Pomona (1739), i samlingen hos Nationalmuseum, Stockholm. Tätt efter följer Portrait of an Old Man (Guillaume de Lisle?) (1700) och Michel Corneille l'Aîné (1642-1708) (1702). Vår katalog innehåller 18 verk av Robert Tournières; galleriet har bevarat de 16 som världen beundrar mest, var och en presenterad med sitt datum, sitt museum och sin historia.
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…
De fyra motiv som återkommer oftast i dessa originalverk, var och ett med sitt främsta exempel.
De 8 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Robert Tournières | Målningar från denna lista |
|---|---|---|---|
| Stockholm | 1 | Pomona | |
| Versailles | 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) | |
| Budapest | 1 | Count Ferdinand Adolf von Plettenberg and his Family | |
| Paris | 1 | Concert | |
| Sankt Petersburg | 1 | Portrait of Unknown Woman as Hebe | |
| Nantes | 1 | Portrait of the Maupertuis family |
Välj ett decennium för att se originalverket som definierar det.
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, Stockholm. Portrait of an Old Man (Guillaume de Lisle?) (1700) och Michel Corneille l'Aîné (1642-1708) (1702) följer efter.
72 år gammal: Pomona är från 1739, och Robert Tournières föddes 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 och Pierre Louis Moreau de Maupertuis. Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 18 verk av Robert Tournières, daterade från 1690 till 1750.
Främst i Nationalmuseum (Stockholm), Opera House (Versailles) och Birmingham Museum and Art Gallery (Birmingham). Museitabellen ovan listar alla.
Under 1700s: 2 av de 16 verk som finns på denna sida skapades då, varav Portrait of an Old Man (Guillaume de Lisle?).
På den här sidan är det tidigaste Concert (1690) och det senaste Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) (1750).
Portraits (3) och Portraiture (2), fördelat på 16 verk på denna sida.
Oil On Canvas, för 3 av de 16 verk som finns på denna sida.
Rococo, om man dömer efter originalen på denna sida.
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.