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142:. A small dog who lies by his side on a leash probably serves as his guide. The shallow depth is suggested by pebbles and cobblestone in the foreground, and by the intersection of two side walls blocking the background, the left one in shadow, the right one illuminated by a light whose source is located in front of the frame, on the left. The shadow of the old man stands out clearly on the ground and extends onto the wall, at the right edge of the frame.
29:
220:, but still cautiously attributed to the "workshop of Georges de La Tour". Cleaned on this occasion, it remained in Paris to be completely restored. At the end of the operation, which lasted fourteen months and was graciously donated by Pierre Landry, the painting was exhibited for some time, from June 1936, in the new acquisitions room of the
158:. It is thus described there, at number 77: "A poor man playing the hurdy-gurdy, orig by Carache Urbain, on canvas, 5 ft, 6 in by 3 ft 6 in". Kept for a time in the abbey library, it was transferred, with the entire deposit, to the former Jesuit college in the city between 3 December 1792 and 5 January 1793.
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The old man has a dramatic and pitiful side at the same time, which is reinforced by the bareness of the decor, the harshness of the lighting, the voice frozen in the open mouth, and the man's unstable stance emphasized by his advanced left foot. The shining eyes that the little dog directs at the
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In 1842, the painting was entrusted, along with other works, to the painter Fabien-Napoléon Léoni to be restored. The relatively high cost of this restoration, which amounts to 250 francs, suggests that the painting was already in poor condition. Around 1846, it was placed in the gallery that the
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In 1800, the painting was one of the thirty-eight works that the sub-prefect Louis
Schadet chose "to adorn the audience hall and adjoining rooms" of the sub-prefecture of Bergues, then installed at the Town Hall. In the handwritten list that he established on the occasion of the transfer, the
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243:. Since then, the painting has appeared in other exhibitions devoted to the painter from Lorraine, whether it be the first retrospective held from May to September 1972 at the Musée de l'Orangerie (catalogue number 3), or that of the
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197:. It is described as follows: "A blind old man, covered with a ragged garment and cloak, sings to the accompaniment of an hurdy-gurdy. The dog leading him by a rope is lying at his feet."
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The first mention of the painting dates from 3 February 1791 when Joseph
Delorge, painter and director of the Bergues drawing school, was commissioned to write the
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Noticed in 1925 by Pierre Landry, who was the first to bring it closer to the works of the master then in full rediscovery, the painting was chosen by
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The canvas, monumental in size (186 cm Ă— 120 cm; 73 in Ă— 47 in), is the largest currently attributed to the painter.
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This painting belongs to the first period of the artist, the diurnal period, in which – against the current of the painting of the time marked by
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painting, under number 12, is presented as a "blind man playing the hurdy-gurdy, led by his dog", and attributed to "Michelangelo" – meaning
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166:. It entered the museum of Bergues in 1838. It is then described, without attribution but as an original painting, under number 18 of the
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town hall dedicated to this purpose. A handwritten list, probably made by one of the members of the museum commission, then attributes
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Etats et
Notices des Monuments et Peinture, sculpture and engraving from the furniture of the Abbey of Saint-Winoc in Bergues
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Le
Vielleur Au Chien: Une Lecture De Le Vielleur Au Chien Vers 1620 De Georges De La Tour Musée Du Mont-De-Piété Bergues
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435:, Paris, Gallimard, Réunion des musées nationaux, coll. « Découvertes Gallimard / Arts » (no 329).
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is the oldest painting by La Tour on this subject, datable to around the 1620s, and in any case, predating
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In 1871, the painting was welcomed into the rooms of the new town hall converted into a museum. In the
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It was transferred to the city's former Mont-de-Piété when it was transformed into a museum in 1953.
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Conisbee, Philip, Jean-Pierre Cuzin, National
Gallery of Art (U.S.) and Kimbell Art Museum. 1996.
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spectator, in contrast to the closed eyes of the blind man, add to the melancholy of the scene.
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It represents, full length and to scale, a blind beggar singing and accompanying himself on the
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Georges de La Tour: Paris, Galeries nationales du Grand Palais, 3 octobre 1997-26 janvier 1998
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to appear in an exhibition of "painters of reality" that opened in
November 1934 at the
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Catalogue of existing paintings of at the hotel of the town hall of the city of
Bergues
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It is one of a series of paintings of old beggars. According to a general consensus,
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written by the painter and restorer Pierre-Antoine
Verlinde (1801–1877), the
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1,86 cm Ă— 1,20 cm (73 in Ă— 47 in)
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Cuzin, Jean-Pierre and Pierre
Rosenberg (préf. Jacques Thuillier). 1997.
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Catalogue of paintings exhibited in the gallery of the museum of
Bergues
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is an oil-on-canvas painting executed c. 1622 by the French artist
351:), thanking Jean-Claude Guillemin, curator of the Bergues museum
247:, from 3 October 1997 to 26 January 1998 (catalogue number 16).
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in the museum of Bergues. . Page consulted on August 20, 2013
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alongside the originals from La Tour, and in particular
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This article about a seventeenth-century painting is a
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The French XVII|e. Masterpieces from provincial museums
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in Nantes, on the occasion of the exhibition entitled
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harvnb error: no target: CITEREFCuzinRosenberg1997 (
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431:Cuzin, Jean-Pierre and Dimitri Salmon 1997.
405:. Washington D. C: National Gallery of Art.
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628:Saint Sebastian Tended by Saint Irene
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676:. You can help Knowledge (XXG) by
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524:The Hurdy-Gurdy Player with a Dog
233:The Hurdy-Gurdy Player with a Dog
204:Attribution to Georges de La Tour
115:The Hurdy-Gurdy Player with a Dog
84:Musée du Mont-de-Piété de Bergues
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22:The Hurdy-Gurdy Player with a Dog
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588:Magdalene with the Smoking Flame
403:Georges De La Tour and His World
723:Paintings by Georges de La Tour
575:(c. 1634–1643, Gemäldegalerie)
191:Beggar playing the hurdy-gurdy
16:Painting by Georges de La Tour
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360:Conisbee et al 1996, p. 262.
743:17th-century painting stubs
386:Beaussant, Philippe. 2011.
227:It was not until 1958 that
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738:Musical instruments in art
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604:Adoration of the Shepherds
446:Thuillier, Jacques. 2012.
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636:The Denial of Saint Peter
596:Magdalene with Two Flames
540:The Dream of Saint Joseph
92:. He is also featured in
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644:Job Taunted by his Wife
313:Cuzin & Salmon 1997
556:Saint Jerome at Prayer
516:The Hurdy-Gurdy Player
237:The Hurdy-Gurdy Player
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120:The Hurdy-Gurdy Player
89:The Hurdy-Gurdy Player
580:Magdalene at a Mirror
450:. Paris: Flammarion.
620:Joseph the Carpenter
532:The Musicians' Brawl
347:(catalog number 16,
95:The Musicians' Brawl
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548:The Fortune Teller
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733:Dogs in art
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176:The Old Man
140:hurdy-gurdy
131:Description
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251:References
164:Caravaggio
150:Provenance
54:Dimensions
647:(unknown)
599:(c. 1640)
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500:Paintings
218:Tuileries
108:mannerism
180:Zurbarán
62:Location
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
