Right in the heart of Vic-sur-Seille, the home town of Georges de La Tour, the museum, which is owned by the Moselle Department, was designed by the architect Vincent Brossy. It provides the setting for two paintings made by the hand of Georges de La Tour. The museum has also a collection of humanist paintings which approaches Art History through the selections and the sensibility of a major collector.
Echoing the spirit of a collector's cabinet, the collection focuses on two major works by Georges de La Tour - Head of a Woman and Saint John the Baptist in the desert - and proposes a set of Parisian painting of the 17th century artists such as Jacques Stella, Bertholet Flémal, Jacques Blanchard and Charles Le Brun.
On the second floor, you will notice a Saint John of Sebastiano Ricci and The Sacrifice of Iphigenia, a theatrical work, painted by Jean-Bernard Restout in 1760. Following a series of landscapes showing the change in the attitude of the painter next to nature. Jan Frans van Bloemen, Pierre-Henri de Valenciennes, Georges Michel, Joseph Bidault, Camille Corot and Charles Guilloux show the evolution of treatment and gradually lead to a modern close to the symbolism of the late 19th century.
Through examples of rare and far removed from conventional wisdom, the third floor has a painting of the nineteenth century in connection with the great scenery made at that time, the beginning of romanticism and the proximity of the Pre- Raphaelites.
Echoing the spirit of a collector's cabinet, the collection focuses on two major works by Georges de La Tour - Head of a Woman and Saint John the Baptist in the desert - and proposes a set of Parisian painting of the 17th century artists such as Jacques Stella, Bertholet Flémal, Jacques Blanchard and Charles Le Brun.
On the second floor, you will notice a Saint John of Sebastiano Ricci and The Sacrifice of Iphigenia, a theatrical work, painted by Jean-Bernard Restout in 1760. Following a series of landscapes showing the change in the attitude of the painter next to nature. Jan Frans van Bloemen, Pierre-Henri de Valenciennes, Georges Michel, Joseph Bidault, Camille Corot and Charles Guilloux show the evolution of treatment and gradually lead to a modern close to the symbolism of the late 19th century.
Through examples of rare and far removed from conventional wisdom, the third floor has a painting of the nineteenth century in connection with the great scenery made at that time, the beginning of romanticism and the proximity of the Pre- Raphaelites.