A Single Warm Light Source From The Clerestory Striking Them Along The Undersides Of The Jaw And The Inner Arms And The Leading Edges Of The Horns And Wings And Leaving The Upper Faces In Deep Shadow In The Tenebrist Manner, High Dynamic Range Holding Detail In Both The Bright Clerestory Light And The Deep Shadow Of The Nave, Warm Flesh Tones Built Up From An Amber Underpainting And Modulated With Cooler Greys In The Half Tones And A Ruddy Flush Across The Cheeks And Deep Umber In The Shadow Along The Jaws And Beneath The Chins Porno IA

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Oil painting in the Florentine Renaissance tradition with visible brushwork and fine craquelure cracking the varnish and the paint built in glazed layers over a warm dark ground with the modelling built from light to shadow in the early century manner, two women posed together inside the Vatican with the camera pulled in close and framing cropped at the bust and both faces rendered in fine detail, the first woman on the left with her shoulders turned three quarters toward the viewer and her head tilted back and her throat exposed and the second woman on the right in with her cheek almost touching the first woman's jaw and one hand raised to the first woman's neck with the fingers spread along the tendon, the first face with a direct steady gaze and heavy lidded eyes and a slight curve at the mouth and high cheekbones catching a warm highlight and full lips in deep red with a gleam and the individual texture of the skin visible along the throat and collarbone, the second face tilted toward the first with her eyes half closed and her lips parted and her cheeks flushed and a fine sweat along her upper lip, the first woman with black hair falling in thick waves and two horns rising from the crown in dark polished keratin catching a hard highlight and large leathery wings spreading behind her shoulders with the membrane lit from behind in warm amber and the veins running through, the second woman with copper red hair spilling across the first woman's shoulder and two longer horns back in pale bone and dark scales running along her collarbone and up the ridge of her spine and leathery wings spreading back in dark red with the membrane translucent and the veins visible, a length of deep crimson silk falling between them and gathered in the crook of an arm with the folds catching the light, the Vatican interior behind them with the ribbed vaults crossing overhead and the clustered columns rising along both sides with gilded capitals and the inlaid marble floor stretching away and the baldachin in the far distance with its twisted bronze columns and shafts of light falling from the clerestory windows above, warm flesh tones built up from an amber underpainting and modulated with cooler greys in the half tones and a ruddy flush across the cheeks and deep umber in the shadow along the jaws and beneath the chins, a single warm light source from the clerestory striking them along the undersides of the jaw and the inner arms and the leading edges of the horns and wings and leaving the upper faces in deep shadow in the tenebrist manner, reflected light bouncing up from the polished marble and lifting the shadow side of both faces, dust suspended in the shafts of light and a soft haze of incense drifting through the upper portion of the nave, museum lighting raking across the canvas and picking up the texture of the paint and the weave of the linen and the fine network of cracks across the varnish, a gilded frame visible at the edge of the composition, high dynamic range holding detail in both the bright clerestory light and the deep shadow of the nave, and a palette of warm flesh and amber ochre and crimson silk and gilt bronze and marble cream and deep umber

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