#Henri Pierre Danloux

[digitalfashionmuseum]

Drawing, 1783, French.

By Henri Pierre Danloux.

Portraying a woman in a redingote and broad brimmed hat.

The Morgan Library.

[oldsardens]

Henri Pierre Danloux - 'La Coquette' (The flirtatious woman)

[literaryvein-reblogs]

Writing Notes: Fight Scene

How to Write a Convincing Fight Scene

In practice, writing a realistic fight scene for your novel is one of the hardest things you’ll ever do.

That’s because fight scenes can be boring to read.

A movie allows the audience to take a passive stance and have the action wash over them.

In contrast, reading a fight scene requires the audience to activate their imagination.

The audience must participate in constructing the fight scene from your clues and seeing it play out in their mind’s eye.

That’s a lot more difficult than getting it fed to you visually.

Below are strategies for writing fight scenes.

Fight Scenes Should Move the Story Forward

The very first rule for fight writing (and writing any scene in general) is to ensure that it moves the story forward.

Say “no” to gratuitous fight scenes that only show off fancy moves or writing skills.

Here’s the easiest way to find out if your fight scene moves the story:

Delete it.

Now, read the scene before and the scene after.

Can you still make sense of what happened?

If the fight caused some type of transition in your story, keep it in.

And remember: Not all transitions are physical. Some are mental.

You don’t always have to discuss the physical aftermath.

You can also explore the mental fallout after a fight.

This can be how the fight moves the story forward.

Fight Scenes Should Improve Characterization

Because reading a fight scene can get boring quickly, it’s important that you focus on more than the bare-knuckle action.

Use fights as a way to explore your character(s) and provide more insight on the following:

Why does the character make the choices that they make in the fight?

How does each choice reinforce their characterization?

How does each choice impact their internal and/ or external goals?

Is this conflict getting the character closer or further away from their goals? How?

What are the stakes for each character? What do they stand to win/lose?

What type of fighter is the character? What are their physical or mental abilities? (Remember that not every protagonist will be a trained assassin, so they’re prone to make sloppy mistakes during a fight.)

Use the fight scene to reveal necessary information about the characters.

Be sure to give the reader a glimpse into the character’s soul and not just into their fighting skills.

Fight Scenes Shouldn't Slow the Pace

In movies and especially in real life, fights go by quickly.

But in literature, fight scenes can slow the pace.

That’s because you have to write all of the details and the reader has to reconstruct the scene in their minds.

However, if you employ certain literary devices into your narrative, you can actually create a taut fight scene.

Here are some tips:

Write in shorter sentences. Shorter sentences are easier to digest. It also speeds up the pace of a story.

Mix action with dialogue. Don’t just write long descriptions of what’s happening. Also, share the verbal exchange between your characters.

Don’t focus too much on what’s going on inside the character’s mind. Introspection happens before and after a fight, not during.

Keep the fight short. Fights should never go on for pages (unless you’re discussing an epic battle between armies, and not individuals).

Hit ’Em With All the Senses

One of the best ways to get visceral when describing a fight is to activate every sense possible.

This includes sight, hearing, taste, touch, and smell.

Think of how you can use these five descriptors in your writing to immediately transport the reader to the scene.

Sight 

Perhaps the most obvious.

You’ll describe exactly what the characters are seeing and what the reader should pay attention to in the scene.

Hearing 

Is a little more delicate.

A fight scene is a perfect time to introduce onomatopoeia into your narrative.

Onomatopoeia - a word that sounds like what it is describing.

Try using more subtle examples, such as:

Boom, Clang, Clap, Clatter, Click, Crack, Creak, Crunk, Fizzle, Gargle, Groan, Grunt, Gurgle, Hiss, Howl, Hum, Knock, Plod, Rattle, Roar, Rustle, Sizzle, Smack, Splash, Splatter, Squeal, Tap, Thud, Thumb, Whine, Whisper

Taste 

Be careful with going abstract here.

Instead of using phrases like, “he could taste fear in the air,”

go for something more concrete like, “blood mixed with strawberry lip gloss was a strange taste.”

Touch 

Perhaps one of the easiest senses to convey.

Describe how the characters feel and interact with each other physically.

Smell 

You often see or hear a fight, but can you smell it?

In person, what would the fight smell like? Probably sweat.

Consider other scents, such as the ambient aroma in the scene.

Example: If the fight takes place in a car garage, there may be the lingering scent of motor oil and tire rubber.

Don’t be afraid to add that into the scene to introduce a different dimension.

When Writing a Fight Scene, Edit, Edit, Edit

A good story is an edited one.

The same rule applies to fight scenes.

A sloppy fight scene can slow the pace of your story and/or confuse the reader.

When editing your fight scene, keep the following in mind:

Don’t include a blow by blow of what happens in the fight. After your initial draft, remove non-essential details that can slow down reading.

Delete flowery language. Extra words drag the pace. Remove every single word that you can.

Consolidate characters to reduce reader confusion and frustration.

Source ⚜ Fight Scenes (Part 2) ⚜ Words for your Fight Scenes Word Lists: Fight ⚜ Poking/Hitting ⚜ Panting ⚜ Running ⚜ Pain

[empirearchives]

Episode du Déluge / Episode of the Flood

Henri-Pierre Danloux

C. 1802, Napoleonic era

[my-big-fat-aesthetic-blog]

Portrait of a young lady in a white dress by Henri-Pierre Danloux

[bottegapowerpoint]

Henri-Pierre Danloux, The doll

[bishopsbox]

���Portrait of a Young Man”, by Henri-Pierre Danloux (1753-1809). French painter. oil on canvas.

Thanks to: @art-club-bouncer

French officer

[antonio-m]

"Portrait of a Young Man”, by Henri-Pierre Danloux (1753-1809). French painter. oil on canvas

[1507ovation]

 Henri-Pierre Danloux

[greetingsdr]

Last year I was scrolling through Pinterest and found a regency painting by Henri-Pierre Danloux. It was so pretty, and inspired me to paint this classicism (ish) portrait of my husband, Stryder, and I. It took me so long to determine how I wanted the end product to look, so in the end it took me 7 months to complete.

[click for higher resolution]

[digitalfashionmuseum]

Oil Painting, 1791, French.

By Henri-Pierre Danloux.

Portraying the Baron de Besenval in a great cutaway coat, black breeches and a red waistcoat.

The National Gallery.

[panmikola]

Анри-Пьер Данлу — Дети, дерущиеся из-за куска хлеба / Deux enfants se disputant un morceau de pain. 1803-1809. Холст, масло. 112.5 x 94 см. Частная коллекция.

Анри-Пьер Данлу (фр. Henri-Pierre Danloux; 24 февраля 1753, Париж - 3 января 1809, там же) — французский живописец и график.

[joseandrestabarnia]

Título completo: El Barón de Besenval en su Salón

Artista: Henri-Pierre Danloux

Fechas de artistas: 1753 - 1809

Fecha de realización: 1791

Medio y soporte: Óleo sobre lienzo

Dimensiones: 46,5 × 37 cm

crédito de adquisición: Comprado, 2004

Pierre-Joseph-Victor de Besenval fue un eminente militar y coleccionista de arte. Su asociación con el círculo alrededor de la reina María Antonieta provocó su huida a su Suiza natal en 1789, durante la Revolución Francesa, pero fue arrestado mientras huía. Evitó la guillotina y salió de prisión en 1790.

Este retrato probablemente fue pintado por Danloux en 1791, el año en que murió el barón. Financiado por herencias y generosos salarios, premios y pensiones, el barón hab��a gastado generosamente a lo largo de su vida, formando una colección de pinturas y porcelanas orientales. Tras vivir una vida azarosa en la que se arriesgó a morir tanto en el campo de batalla como por su vinculación con la corte real, el barón se relaja en un ambiente marcado por su estilo y personalidad. Danloux lo presenta como un coleccionista de refinamiento y gusto en una pintura que es en sí misma un objeto de consumada habilidad.

Información e imagen de la web de la National Gallery de Londres.

[justineportraits]

Henri Pierre Danloux     Portrait de Mademoiselle Rosalie Duthe      1792

[galleryofunknowns]

Henri Pierre Danloux (b.1753 - d.1809), 'Portrait of Constantia Foster with her Nephew', oil on canvas, c.1790s, French/English, for sale for est. $20,000 - $30,000 USD in Christie's Old Master Paintings sale, October 2020.

Constantia Foster (née Baynton) married Richard Foster, Esq., of Thames Bank, Buckinghamshire, in Charlinch on 23 January 1773. The couple would go on to have five sons and two daughters. The prime version of this composition is a slightly larger canvas begun by Danloux in London in June 1792, which was recently acquired by the Nationalmuseum, Stockholm. Portalis notes that the composition was so successful and earned the artist so many compliments that, after Foster retrieved the painting in February 1793, Danloux painted this version for himself.

At least two further portraits of members of the Foster family by Danloux are known, including The Masters Foster and a bust-length portrait of Richard Foster (Sotheby’s, London, 8 April 1992, lot 176). (x)

[womblegrinch]

Henri-Pierre Danloux (1753-1809) - Portrait of Lum A’Kao

Oil on canvas. Painted in 1793.

35.25 x 28 inches, 92 x 71 cm. Estimate: US$400,000-600,000.

Sold Sotheby’s, New York, 29 Jan 2020 for US$572,000 incl B.P.