Great piece!
- Title The Education of the Virgin (L'Éducation de la Vierge)
- Artist Georges de La Tour (French Baroque painter of religious chiaroscuro nocturnes by candlelight; Vic-sur-Seille, Duchy of Lorraine, baptised 14 March 1593 - Lunéville, 30 January 1652; in his own lifetime court painter to King Louis XIII and Duke Charles IV of Lorraine; almost entirely forgotten after his death until rediscovered by the scholar Hermann Voss in 1915)
- Year of creation c. 1650 (or sometimes catalogued more broadly c. 1645-1650; toward the end of Georges de La Tour's life — he died at his home in Lunéville, Lorraine, on 30 January 1652. The painting depicts the apocryphal episode of Saint Anne, the mother of the Virgin, teaching her young daughter Mary to read by the light of a single candle — a popular Counter-Reformation devotional subject in which the future Mother of God is shown receiving her own education in scripture as a foreshadowing of her later role in the divine plan. La Tour, characteristically, treats the scene with austere economy: two figures, one large open book, one wax candle whose flame is partially veiled by the child's slender raised hand — the typical La Tour motif of an obscured nocturnal light source — and an otherwise empty, dark space. The candle's golden light models the child's translucent fingers from behind and falls across the page Anne is patiently indicating, articulating the picture's deep, silent contemplative atmosphere. The composition is one of the most-replicated of all La Tour designs: several other versions exist, including impressions at the Musée des Beaux-Arts de Nantes, the Musée d'art et d'histoire de Saint-Brieuc, and various private collections. The authorship of the Frick canvas has been much debated. La Tour's son Étienne was his close pupil and continued his father's manner after his death, and distinguishing the two hands in versions of La Tour's compositions is notoriously difficult. Recent scholarly opinion suggests that all the surviving Education of the Virgin canvases may be replicas of a lost original by Georges de La Tour; some scholars argue that the Frick picture is the autograph original, others that it should be reassigned to Étienne primarily because of the form of the signature it carries. The Frick today retains the attribution to Georges de La Tour. Catalogued as no. 60 in Thuillier's 1992 catalogue raisonné)
- Technique/Medium Oil on canvas
- Original dimensions 83.8 x 100.3 cm
- Collection/Museum The Frick Collection, New York (accession 1948.1.155; acquired in 1948 from Rudolf Heinemann via M. Knoedler & Co., having previously been with Roland Robert in Nice)
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Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
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It's a masterpiece! It really fits the horror theme of my office room. It scares my wife but that what I was going for. I will definitely order more photos, not just for me but as gifts as well. I already have "the laughing fool" picture on the way. Thank you guys
Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
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Very poorly packaged—thin cardboard; I don't know how it survived shipping. The stretcher frame is too weak, leaving the canvas sagging and barely taut; at least one extra crossbar needs to be added to get the tension up to an acceptable standard. Check pictures, description diameters for package was overestimated few cm.
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I begin this review by recognising Inspiraggio’s excellent customer service. When one of two prints I ordered around the same time became delayed (the post office having dallied, misplaced it, or simply needed a kick up the whatsie), I contacted their team. They were straight onto it, offering to replace the print if it failed to arrive. They then contacted their courier, who in turn got in touch with Australia Post, and the package was delivered promptly. Throughout the process Inspiraggio’s staff kept me informed, and I could not rate their dedication to the customer any higher. Now to the prints themselves. Caspar David Friedrich’s best-known work is Wanderer above the Sea of Fog, yet here I chose Abbey in the Oakwood for its mood and tones. I am drawn to pieces that are stark, mysterious and dark. Is it a meditation on permanence, or does it simply resonate with those who value solitude? Who can say. Either way, it is a wonder. It also complements another piece I purchased from Inspiraggio after being introduced to the little-known Belgian artist Léon Spilliaert: Faun by Moonlight. Again the tones are dark, and it speaks directly to the somnambulist in me. Mysterious, haunting and evocative, it offers a quiet solace to those of us primed for solitude.
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Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
The detail is amazing to see in person and looks amazing in my room. Love it!
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Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
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