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 rarely lacking in de la Tour's work--a religious implication.
Yet it is an accomplished picture. The figures are effectively placed: the courtesan-hostess sits central and all but full-faced, one hand on the table holding her cards, covered, the other held out towards the maid who stands on her right with wine-glass and flask, her head bent and her face in profile. The "trickster" sits on the left, next to the maid; his back is three-quarters turned, right elbow resting on the table and righ…
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