I now need a half-light cloud filtered day to get a reasonable photograph. But at least these images give you the idea. The notion behind this painting is where Eugène Delacroix comes in and the approach he mentions in his journal. His observations trace back to Caravaggio and the point of reflection or incident of reflection that is viewed as the analog for the vanishing point and it was thought to reestablish a corridor between man and the divine because, at the time, it was believed that light travelled at an infinite rate of speed.
Cool, warm and neutral colours are applied like checkers on the canvas with the point of reflection becoming the vanishing point.
In the tension between colour and form, the world of half-light results in the rise of the prominence of colour and the diminishing of tonality. This shift can be traced to Eugène Delacroix’s journal entry May 5th 1852 (the journal starts when he was 24 and this note was when he was about 54 years old):
A picture should be laid-in as if one were looking at the subject on a grey day. With no sunlight or clear-cut shadows. Fundamentally, lights and shadows do not exist. Every object presents a colour mass, having different reflections on all sides. Suppose a ray of sunshine should suddenly light up the objects in this open-air scene under grey light, you will then have what are called lights and shadows but they will be pure accidents. This, strange as it may appear, is a profound truth and contains the whole meaning of colour in painting. How extraordinary that it should have been understood by so few of the great painters, even among those who are generally regarded as colourists!