cat. , National Gallery of Art. Washington, 1996, pp. 67-69, 94, 152, 168, 172, 174, 176, 184-85, 196, 207, 246-47, 253-54, 268, no. 17, ill. (color, usual and particulars) and frontispiece (color detail), admire no real analogy between La Tour’s “Fortune Teller” and Caraveggesque portray, however the arrangement of the figures is “uncannily reminiscent” of an engraving after an early portray of the same subject by Vouet; attach the picture with a painting of an analogous discipline in the assortment of Jean-Baptiste de Bretagne in Paris, noting that the prolonged inscription shows the image was painted for an viewers outside Lorraine; extra speculate that it may have been painted in Paris; describe the costumes as “wonderful creations”, which ought not be taken as “simple transcriptions of authentic clothing in the Lorraine around 1630”; observe that the sample of birds of prey and their victims on the old gypsy’s mantle can be seen to echo the theme of the painting; suggest that the dirty fingernails of the young man may reveal that he’s not quite what he purports to be; identify the “porcelain skinned” young woman as Preciosa, the heroine of Cervantes’ “La Gitanella,” noting, however it, that the emphasis on thievery—absent from the novella—may be derived from pictorial and commedia dell’arte traditions; state that even though there is not any direct proof to aid the conjecture that La Tour’s “Fortune Teller” and one of his Cheats were conceived as pendants, “the topics were conjoined in the minds of painters and creditors”. The Tree of Life spread is a very thorough method of exploring the normal path of the querent’s life. To use this spread be aware of a question to put before the cards and then click below. Wolfgang Prohaska. Georges de La Tour bei der Wahrsagerin. Exh. cat.