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.
简而言之
在 Robert Tournières 留下的所有原作中,最著名的当属收藏于 斯德哥尔摩 国家博物馆 的《Pomona (1739)》。 紧随其后的是 Portrait of an Old Man (Guillaume de Lisle?) (1700) 和 Michel Corneille l'Aîné (1642-1708) (1702)。 我们的目录收录了 Robert Tournières 的 18 件作品;画廊完整保留了 16 件享誉世界的杰作,并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
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…
这些原作中反复出现的四个主题,各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | Robert Tournières 的作品 | 此列表中的画作 |
|---|---|---|---|
| 斯德哥尔摩 | 1 | Pomona | |
| Versailles | 1 | Michel Corneille l'Aîné (1642-1708) | |
| 伯明翰 | 1 | Portrait of Richard (Dicky) Bateman | |
| 第戎 | 1 | Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) | |
| 布达佩斯 | 1 | Count Ferdinand Adolf von Plettenberg and his Family | |
| 巴黎 | 1 | Concert | |
| 圣彼得堡 | 1 | Portrait of Unknown Woman as Hebe | |
| 南特 | 1 | Portrait of the Maupertuis family |
选择一个年代,探索定义该时代的原创杰作。
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…
Pomona (1739),国家博物馆, 斯德哥尔摩。紧随其后的是 Portrait of an Old Man (Guillaume de Lisle?) (1700) 和 Michel Corneille l'Aîné (1642-1708) (1702)。
72岁:Pomona创作于1739年,Robert Tournières出生于1667年。
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 及 Pierre Louis Moreau de Maupertuis。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 18 件 Robert Tournières 的作品,创作年代从 1690 年至 1750 年。
多见于 国家博物馆 (斯德哥尔摩), Opera House (Versailles) 及 伯明翰博物馆与美术馆 (伯明翰)。上方的博物馆列表列出了所有相关机构。
在 1700s 期间:本页 16 件作品中有 2 件创作于该时期,其中包含 Portrait of an Old Man (Guillaume de Lisle?) 件作品。
在本页面中,最早的作品创作于 Concert (1690),最晚的创作于 Portrait of Chancellor Louis Phélypeaux, Count of Pontchartrain (1643-1727) (1750)。
Portraits (3) 及 Portraiture (2),共计 16 件作品。
Oil On Canvas,共计 3 件(本页共有 16 件作品)。
根据本页面的原作,Rococo
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.