#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)

[mesillusionssousecstasy]

1:45 pm : "Portrait du prince Auguste Frédéric, duc de Sussex, 1794" par Henri Pierre Danloux (huile sur toile) pour l'exposition "Chefs-d'oeuvre de la collection Bemberg" à la fondation de l'Hermitage -  Lausanne, Mai MMXXI. 

(© Sous Ecstasy)

[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

[random-brushstrokes]

Henri-Pierre Danloux - A young boy pleading with his older sister for the return of his Polichinelle puppet (ca. 1790s)

[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

[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

[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.

[terrence-silver]

hi! i love your work so much! feel free to ignore this, but recently i’ve been very insecure about the loose skin on my body and the amount of stretch marks i have. could you possibly write something about terry reacting or comforting his beloved after coming home from the dojo early one day and finding beloved talking down upon & grimacing in the mirror at themselves and crying?

----

He fills the mansion with Renaissance paintings.

Botticelli, Titian; old pieces acquired at auction houses.

Each costing a fortune.

Often, Terry didn't choose the method to reach an end goal and he'd visit underground, private, invite-only sales for only the most exclusive of clientele where he could get coveted pieces nobody would sell. Baroque Venuses. Nymphs drunk on love and life. The forgotten works of Henri-Pierre Danloux, from the Regency era. Filling the estate corridors with the artwork, alerting his contacts to keep him in touch with whatever other piece of the same thematic would be available on the market and safe it for him exclusively, or else. He was on a tangent. On a mission. He was, ever since he's found you being blue and scrutinizing yourself in front of dressing mirrors when you thought nobody was looking. When you though the cameras weren't catching you. The staff, not reporting back to him on your dispositions. How you ate. The fact that you didn't. Should he just smash every mirror in the mansion? Smash every reflective surface and make it his enemy? Order it thrown out, until you physically had nothing to loathe yourself in front of? Who should he have revenge on? Someone had to pay. Maybe you had to pay, for doing this to yourself, flinching, as he'd trace the lighting patterns on your thighs. The folded skin and the softness. Shuddering away from him, like your body wasn't his body. His domain. For not listening to him whenever he said you were worthy, like you didn't take him seriously, stuck in your own ways when his way was the only way you needed. He had a thing for luxury, you often forgot; the old world type. Generational. that didn't adhere to trends, endowing the mansion with art that looked like you and fuck, he'd hoped you'd notice.

What Terry liked, graced his walls.

And his bed.

And it looked a little like a buxom odalisque from a velvet dream.

His odalisque, caught again, in front of the mirror, on one occasion, when he surprises you --- a surprise that is everything but a surprise to him, having seen this scene time and time again over the house security footages played back to him, as you scurry away from the mirror's reflection, quickly putting on your robe, sniffling, hiding your face and forcing a smile of greeting towards him, eyes still shimmering. You were crying. This has been going on for months now and Terry Silver had about enough. Didn't you realize you were the type of coveted muse the old masters used to paint? -"Who was it?"- You demands, up front, directly. If he had a foe, he wanted to know their name and their address. Now. -"Who was what?'- You peer up at him, shifting even deeper into your robe but Terry isn't buying it. Was it a teacher, once upon a time? A jealous friend? Someone he could track down? Someone with a business? A family? Someone he could make suffer for his? -"Someone said something to you."- Not a question. A statement. He doesn't relent, holding your gaze, looking for traces of drying tears, as his gaze traced your body up and down, getting angrier with each minute. He could tell. You were about to bullshit him. And you do. -"I don't know what you're..."- You shutter, trying to lie. Something you weren't very good at. Especially compared to him. -"Your body."- Is all Terry says and he immediately spots a shift in demeanor as you turn away from him in spite of his face following you. You weren't going escape this. He's had this conversation with you before, and you didn't escape it then and you wouldn't now.

-"Look, Terry, I appreciate you trying, but I'm just being realistic."-

You stare down at the marble floor and the carpet on it.

Realistic?

Nothing realistic about that.

-"You look like that, and I look like this. Sometimes, it's just hard.- You gesture up at him and yourself as comparison and that point, if he could pluck your eyes out to replace them with his own and make you see what he saw, he would. Tactile gentleness, he tells himself, quelling the need for someone's blood. -"Hey, you're not listening to me; we're not in a competition of muscles, are we?"- He meets you on your height and leans down a little, to your wave length, smiling, only so slightly. LA was full of people like him and yet he found paradise when he spotted the curvature of your shape, your wrinkles and stripes, in sparse glimpses out on a beach at Malibu, during the height of summer, covered by a tanning towel you struggling to wrap around you as quickly as possible, flustered and sun kissed, greeting him out of the shimmering oceanic mirage. Maybe Venus was born right here and right then, in The Valley, 1983. All he did was have the driver park up the Limo so he could catch a better signal for his overseas call to Tokyo and what he saw through the tinted window could've been providence. All you lacked was a clam shell to be born out of, and Terry could arrange for that as well. He never did have that call with Tokyo. He was otherwise preoccupied that day. -"Look around you. You're this whole house. It's all you."- He coos at you finally, referencing all the art, all the oil paintings, all the masterpieces he has been accumulating in your image, commissioning a couple himself, and there it is, a hint of color in those cheeks. Good. -"I've noticed. How much did that all cost, Terry?"- Lashes fluttering, a tiny grin, here you are, if you're not worrying about your body image, you're worrying about economics.

Dear heart.

He had enough to last ten lifetimes.

Filling the foyers, reception rooms, bedrooms and hallways with your likeliness until you viewed yourself through his perception and his perception only. Through the eyes that beheld, as if anyone's eyes were more correct than his.

-"Money ain't shit."- Is all he says as he pulls you close.

[mesillusionssousecstasy]

1:45 pm : "Portrait du prince Auguste Frédéric, duc de Sussex, 1794" par Henri Pierre Danloux (huile sur toile) pour l'exposition "Chefs-d'oeuvre de la collection Bemberg" à la fondation de l'Hermitage -  Lausanne, Mai MMXXI. 

(© Sous Ecstasy)

[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]

[random-brushstrokes]

Henri-Pierre Danloux - Mademoiselle Rosalie Duthé (1792)

[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.