The first part of the “Introduction” lays out key questions regarding the representation of light, vision and the visible, as well as outlines the interdisciplinary artistic, critical, theological and philosophical methodologies at work. In the second part, a rapid survey of key biographical and professional details is provided to foreground the extensive critical problems posed by La Tour’s pictorial corpus which include: problems of identifying paintings (reconstructed only after La Tour’s “rediscovery” in 1915), lack of dates, titles and the presence of multiple paintings in parallel versions.
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