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The Fortune Teller | Georges de La Tour | c. 1630

The Fortune Teller | Georges de La Tour | c. 1630

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About the artwork:

The Fortune Teller by Georges de La Tour, painted around 1630, presents a carefully staged scene in which a young aristocrat consults a group of women who appear to be telling his fortune, while in reality they are robbing him. The composition is structured with remarkable clarity, each figure positioned almost parallel to the picture plane, which gives the scene a theatrical stillness. La Tour, a leading figure of the French Baroque, was influenced by Caravaggio’s realism, yet his approach is more controlled and silent. Here, light is even and restrained, allowing the viewer to focus on the subtle gestures of the hands as they remove the young man’s purse and cut his pocket. The painting functions as both a genre scene and a moral warning about vanity, naivety, and social deception. Today it is housed in the Metropolitan Museum of Art in New York, and it remains one of La Tour’s most compelling explorations of illusion and human vulnerability.

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  • Title The Fortune Teller (La Diseuse de bonne aventure)
  • Artist Georges de La Tour (French Baroque painter of Caravaggesque genre and 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 German scholar Hermann Voss in 1915)
  • Year of creation c. 1630-1635 (the date remains disputed within the artist's career — older scholarship dated the picture as late as the early 1640s, but recent scholarship tends to place it earlier, in the late 1620s or first half of the 1630s, as a relatively youthful exercise in the international Caravaggesque genre manner that La Tour shared with Valentin de Boulogne, Nicolas Régnier and the Utrecht Caravaggisti. The composition is one of the supreme Caravaggesque day-lit genre scenes of the seventeenth century: a fashionably dressed young gentleman, callow and supremely self-confident in his richly slashed and embroidered doublet, has his fortune told by a withered, deeply lined old gypsy woman at the right, who reads the coin she has just received from him while two younger gypsy accomplices on the left close in behind his back to cut the strings of his purse and slide a gold medal off his chain. A fifth figure, a fair-haired young woman to the left, watches the trick with cool calculation. The picture is a moralising warning against the deceptions and vanities of youth and the pickpocketing tricks of gypsies, then a stock subject of seventeenth-century European literature and theatre, but La Tour transforms what could be a vulgar genre scene into a stark, monumental, almost frieze-like composition of five half-length figures, brilliantly lit by a single broad daylight from the left and locked together by a network of subtle glances and silent gestures. The painting belongs to La Tour's so-called "daylight" or diurnal manner, distinguished from his more famous nocturnal candlelit pictures of the 1640s; together with The Cheat with the Ace of Diamonds at the Louvre and the various Hurdy-Gurdy Players, it is one of his greatest day-lit canvases. The authenticity of the Met's signature has occasionally been questioned, but the prevailing scholarly view today accepts the picture as autograph)
  • Technique/Medium Oil on canvas (signed and inscribed upper right: "G. de La Tour Fecit / Luneuilla Lothar." — "Made by G. de La Tour, Lunéville in Lorraine")
  • Original dimensions 101.9 x 123.5 cm
  • Collection/Museum Metropolitan Museum of Art, New York (Rogers Fund, accession 60.30; acquired in 1960 amid considerable controversy — the picture's purchase by the Met from the Wildenstein gallery in Paris provoked a major diplomatic protest from French art-historical circles, since the painting had been exported from France without an export licence on the grounds that it was a worthless studio copy, and only the recently formed Comité Georges de La Tour had recognised it as autograph; François Mitterrand, then a deputy, raised the question in the National Assembly)

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Customer Reviews

Overall rating: 4.8 / 5 from 1784 reviews.

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I simply love the portrait of the three black cats! - flawless print, elegant frame and quick shipping with sufficient packaging. I will be coming back for more! Thank you! <3

Three Black Cats | Carl Kahler | c. 1891

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Excellent quality! Very impressed! Hangs next to my desk as I work. Inspiring! Saw the original at the Vatican Museum. I will be buying more.

School of Athens | Raphael | 1510

Customer photo review of Untitled | Mark Rothko | 1952

大きくて存在感があるのに軽いので安心して壁にかけられました!気に入っています。

Untitled | Mark Rothko | 1952

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Beautiful print on canvas. Thinking of buying a bigger one for my house as my daughter would love this for her house.

Ecce Homo | Antonio Ciseri | 1871

Customer photo review of The Ambassadors | Hans Holbein the Younger | 1533

Okay, let me start by saying this is my favorite painting of all time. I love skulls. I am beyond thrilled to own this piece and show it off to all who enter! I cannot believe this was painted in 1533.. It stirs me. 10/10 piece. Easy. I am attaching two photos of the upper left corner where the crucifix lies hidden in plain sight. I am disappointed that the wrap of the canvas wasn't very tight on this one. Because of the loose wrapping.. you can clearly see that the crucifix is mirrored from the printing job and it kind of ruins that corner of the piece because it is a detail you aren't suppose to notice right away. Unfortunately it sticks out in plain view. I plan to take black paint and just tape off the edge and fill the outer edge so the crucifix has a proper corner to inhabit. Although, I am hesitant to try and alter something so expensive.. Not sure what to do.

The Ambassadors | Hans Holbein the Younger | 1533

Customer photo review of The Last Day of Pompeii | Karl Bryullov | 1830

Solid as usual. Solid as always. The Last Days of Pompeii is dramatic and moody; just what I wanted. Print quality is sharp, colors are faithful. The artwork is theatrical, and work well on canvas. I'm a history nut and have had a fascination with Pompeii since my teens, so this one had to join my collection. Happy with it.

The Last Day of Pompeii | Karl Bryullov | 1830

Customer photo review of Among the Waves | Ivan Aivazovsky | 1898

Absolutely beautiful piece of art, printed well and in a very nice frame that was packaged and delivered with no damage or issues with the contents.

Among the Waves | Ivan Aivazovsky | 1898

Customer photo review of The Beheading of St John the Baptist | Caravaggio | 1608

We made our first purchase from Inspiraggio, The Beheading of St John the Baptist | Caravaggio | 1608. We absolutely love it. The quality and framing are amazing. It changes the whole room. Thanks!!!

The Beheading of St John the Baptist | Caravaggio | 1608

Customer photo review of Death on the Pale Horse | Gustave Doré | 1865

I ordered two paintings from Inspiraggio, and both are of incredible quality and remarkably faithful to the originals. The canvas and frame both feel sturdy, and the level of detail is truly impressive. I’m delighted with my purchases and would definitely order from them again in the future

Death on the Pale Horse | Gustave Doré | 1865

Customer photo review of Chaos | Ivan Aivazovsky | 1841

Very pretty. I knew I had to have 'Vanity' when I saw it. 'The Great Red Dragon...' is... great as well. Both quality prints, really like how they look in my apartment.

Chaos | Ivan Aivazovsky | 1841

Customer photo review of Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900

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

Customer photo review of Cotopaxi | Frederic Edwin Church | 1862

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.

Cotopaxi | Frederic Edwin Church | 1862

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