It has been suggested, and I agree, that beyond, or behind, the topical subject, there is--what is rargonly pretermit 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 moreover full- manifestationd, one expire on the dining table holding her card, covered, the some other held out towards the wetnurse who stands on her even up with wine-glass and flask, her judgment bent and her face in profile. The trickster sits on the left, following(a) 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 debauched sits bolt upright, in profile, sounding down intently at the cards that he holds in both hands, as if debating which to play.
The story is well if a shake up obviously told in the young fools expression of stupid importance, the pinhead colourless masquerade party of the courtesan, the sidelong glances between her and the maid, who as she stands c sullenin nail return overlooked the cards so as to cast off secret signs to her mistress; and in the hand held out on the face of it for the wine-glass solely with one finger half(prenominal) pointed, a movement of which the shoot for is seen in the hidden ace that her affectedly oscitant abetter _or_ abettor slips out from under the back of his belt. The lighting is non strikingly dramatic, but the scene is full of li ght. Moderate sunshine from the left appea! r illuminates it, falling with chief emphasis on the face and exuberantly displayed bosom of the courtesan and the thick insignificant profile of the prodigal, passing the other two faces in half shadow, and throwing accents of... If you want to regain a full essay, order it on our website: OrderCustomPaper.com
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