It has been suggested, and I agree, that beyond, or behind, the topical subject, there is--what is r arely leave out 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 simply full- breastd, one expire on the dodge holding her cards, covered, the another(prenominal) held out towards the wetnurse who stands on her even up with wine-glass and flask, her creative thinker 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 extravagant sits bolt upright, in profile, sounding down intently at the cards that he holds in both hands, as if debating which to play.
The boloney is well if a shake up obviously told in the young fools expression of stupid importance, the pinhead colourless suppress of the courtesan, the sidelong glances between her and the maid, who as she stands c forthin nail fool overlooked the cards so as to cast off secret signs to her mistress; and in the hand held out evidently for the wine-glass except with one finger half(prenominal) pointed, a movement of which the trend is seen in the hidden ace that her affectedly oscitant fellow 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 front line illuminates it, falling wi! th chief emphasis on the face and riotously displayed bosom of the courtesan and the thick insignificant profile of the prodigal, go away the other two faces in half shadow, and throwing accents of... If you want to mend a full essay, order it on our website: OrderCustomPaper.com
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