Georges de La Tour. The Cheater with the Ace of Diamond. (1635.)
Here a scene of kind which wants to be moral and which is also makes a vanity.
This painting is a warning statement against the pleasures of the wine, the play and the lust. The bottom sinks, lighting, the play of the glances, the situation, challenge us and seem to say to us : Caution ! It is rather easy to imagine the scenario which is played in front of us. The young man, isolated on the right on the picture, was attracted with this table of play by the charms of the courtesan in the center, this one looks at the maidservant like saying to him: “ drunnk it ! ”, while being useful it observes the young middle-class man richly dressed for to know if it does not suspect nothing. In the foreground the cheater leaves his belt have that it goes add to his play. Gold coins are on the table, the wine, the low neckline of the women, the play, tightened framing, the glances, the attitude of the cheater who seem to take to us for witness, the artist asks the spectator if it is of agreement, all implies us directly in this swindling.
The characters are seen of face and space is limited enough. The background is dark to not distract the attention from the spectator who must concentrate on the scene.
The 3 accomplices are located on the 4 natural points of interest of the painting. Their prey is very insulated.
2 camps are distinguished :
That of the 3 compares plotting and that of the young man who will be swindled. The 3 characters of left are in contact, almost to touch itself, but it exists there a real space between the victim and the courtesan.
The Glances intersect, the young man looks at the play and the chart who will be played. The courtesan looks at the maidservant seeming to ask him to serve the wine copiously, this one observes the young man of the corner of the eye to the case or it would suspect something, the cheater to divert the attention of his indelicate gesture looks at the spectator and seems to take it with witness.
There is almost contact between the finger of the courtesan and the right-hand man of the cheater, this gesture evokes their complicity. A bracelet of pearl is with the wrist of the young woman.
Detail enough funny, a fringe of the dress of the cheater indicates his gesture dishonest person. It is not at all a chance. This representation points out the attitude of Judas in the cene.
Bracelet, collar, earrings, ornament of the hair, the courtesan is covered with pearls. The pearl is symbol of lust, it is round thus evokes the female and white roundness like the body parts most intimate.
The dress of the young man is richly decorated.
Faithful to Caravage, Georges de la Tour lights the scene and his characters of a violent one beam of light who comes from the back of the cheater on the left of work. This has two effects, that dramatizes the subject and reinforces the presence of the protagonists.
Harmonize between hot colours. Contrasts between complementary.
Harmonize and Contrasts.
The carryforward of the colours used to work out the painting on the chromatic circle indicates a harmony between hot colours and a contrast between complementary colours.
Click and move the painting with the pointer.
Caravage : Cheaters. (1595).
Painted by Caravage in the 1595 here painting which is the model of the work of Georges de La Tour. One finds there tightened framing, the gesture of the cheater
who passes his hand in his back, the same type of lighting which puts the characters in the light. The compare is located beside the prey and seeks to distract it. With Caravage there is no allusion to the wine nor with the lust. Simply a warning concerning the play and the money.
Georges de La Tour : The Monologuist of Good Adventure.
In the monologuist of Good Adventure during this one reads the lines of the hand of the character, two assistants rob it of each with dimensions. In this scene there are 4 compares and the prey is literally encircled. The young man seems
absent and subjugated, its naivety strikes the spectator. The ugliness of the monologuist of good adventure is accentuated, it symbolizes the evil and the spectator can read it on his face.
The Monologuist of Good Adventure. Caravage. (1597).
This painting of Caravage uses tightened framing and the light directed on the models to insert the spectator in work. It denounces credulity, them
false predictions, mystification and a seduction. However there is no rob. One understands that Georges de la Tour took again the topics of Caravage by accentuating them. In the cheater with the play he adds the wine and the lust, in the monologuist of good adventure to the naivety he adds the rob. A manner of representing that the defects often go per pair and whom the evil often has tendency to gather to deceive the decent people.