This essay is about "The Cheat With The Ace of Diamonds" by Georges de La Tour.

It has been suggested, and I agree, that beyond, or behind, the topical subject, there is--what is r arly want in de la Tours work--a religious implication. Yet it is an accomplished picture. The figures are in effect placed: the courtesan-hostess sits central and all hardly full- face upd, one expire on the tabular array holding her card, covered, the some other held out towards the wetnurse who stands on her even up with wine-glass and flask, her principal sum bent and her face in profile. The trickster sits on the left, adjoining to the maid; his back is three-quarters turned, right elbow resting on the table and right hand coolly holding up his cards; he looks back casually over his shoulder, bringing his face into three-quarter view. At the opposite subvert of the table the young riotous sits bolt upright, in profile, sounding down intently at the cards that he holds in both hands, as if debating which to play.

The humbug is well if a shake up obviously told in the young fools expression of stupid importance, the pinhead colourless cover of the courtesan, the sidelong glances between her and the maid, who as she stands c impinge onin nail bear overlooked the cards so as to cast off secret signs to her mistress; and in the hand held out plain for the wine-glass only with one finger half(prenominal) pointed, a movement of which the aim is seen in the hidden ace that her affectedly oscitant supply slips out from under the back of his belt. The lighting is non strikingly dramatic, but the scene is full of light. Moderate sunshine from the left battlefront illum inates it, falling with chief emphasis on th! e face and ebulliently displayed bosom of the courtesan and the thick insignificant profile of the prodigal, difference the other two faces in half shadow, and throwing accents of... If you want to exhaust a full essay, order it on our website: OrderCustomPaper.com

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