The valuable value of this immortal work lies in revealing the empty souls of French aristocrats in Louis XIV and Louis XV through a large painting that seems to be used for advertising. It can be said that Jill Brass, a famous novel by Eduardo's contemporary writers, has the same effect in image exposure. It's just that Laessaari used sharp literary language to describe some dissolute and shameless philistines, while Waldo used ornate colored pens with decorative interest to describe the typical arty aristocratic men and women with no ink in their chests. At the same time, Giles, another masterpiece of Waldo, is also one of the masterpieces of the same significance in this period. The oil painting Giles and another Italian comedian is two companion pieces. Giles is a masterpiece of a theater in Paris. Clowns who draw Italian comedies are bigger than real people, so scaffolding must be used when painting this picture. Eduardo painted several images of Gilles, but this one is the most famous and expressive.
This funny clown is wearing a white clown coat. The painter did not paint his stage life during his performance, but stood upright in the center of the picture like a monument. The background is a wilderness with long colorful clouds embedded in the blue sky. Gilles stood in the foreground, in his lower right corner, there were a group of stage figures symbolizing integrity and kindness, who were hiding in the bushes; On the left is a donkey rider with a deep shadow, symbolizing the hypocrisy, lewdness and intrigue common in society. Gilles, like a lotus, emerges from the mud without being defiled. He lowered his hand feebly and stared at it, as if thinking about something. He didn't show his ugliness-that was the expression on the stage, but now his play is over, and he is waiting for the end. This is the inner meaning of this painting.
This "signboard painting" reflects the inner thoughts of the painter at that time. After finishing this painting, Waldo's weak body took a sharp turn. In order to cure his illness, he had to leave his home in Gersan, but he still struggled to draw for several hours every morning. Waldo's last residence was Nojean-sur-Marne. 172 1 07 18, the 37-year-old painter died of terminal tuberculosis. In the month of his death, he had just finished painting a portrait of Christ on the cross for Father Zhiyou as a farewell memorial.