Not rediscovered until the twentieth century, the works of Georges
de La Tour retain an aura of mystery. At first sight, his paintings
suggest a veritable celebration of light and the visible world, but
this is deceptive. The familiarity of visual experience blinds the
beholder to a deeper understanding of the meanings associated with
vision and the visible in the early modern period. By exploring the
representations of light, vision, and the visible in La Tour’s
works, this interdisciplinary study examines the nature of painting
and its artistic, religious, and philosophical implications. In the
wake of iconoclastic outbreaks and consequent Catholic call for the
revitalization of religious imagery, La Tour paints familiar
objects of visible reality that also serve as emblems of an
invisible, spiritual reality. Like the books in his paintings,
asking to be read, La Tour’s paintings ask not just to be seen as
visual depictions but to be deciphered as instruments of insight.
In figuring faith as spiritual passion and illumination, La
Tour’s paintings test the bounds of the pictorial image,
attempting to depict what painting cannot ultimately show: words,
hearing, time, movement, changes of heart. La Tour’s emphasis on
spiritual insight opens up broader artistic, philosophical, and
conceptual reflections on the conditions of possibility of the
pictorial medium. By scrutinizing what is seen and how, and by
questioning the position of the beholder, his works revitalize
critical discussion of the nature of painting and its engagements
with the visible world.
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