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He uses both hands in amighty effort to thrust his huge spear into the dragon 's throat , and thispowerful gesture dominates the whole scene . " " In compositions with figures , the characters must differ in complexion , age , colour , attitude , corpulence , build , fat , thin , tall , short , proud , courteous , old , young , strong and muscular , weak and with few muscles , happy , melancholic , with curly or straight hair , short or long ; - with alert or vulgar movements ; - and vary the costumes and colours and all other things necessary for this composition . We do know , however , that we ourselves have a complete palette of drives , a range of information and beliefs and attitudes toward our parents , toward our own sexuality , toward war , toward scientific explanation , toward the transcendent . To accomplish this , he needs , paradoxically , to turn still-life painter , beginning with an unusually dark brown underpainting against which the surface textures of both solid and liquid objects - the cascade of wine , the bursting figs and grapes ( emblems of debauch ) , the richly brocaded cloth - could be rendered with sparkling sensuousness . We cannot know Homer 's attitude toward the Civil War , the depth of his ambitions as a young painter , his intellectual grasp of the principles of evolution , the nature of his love for his mother , his sexual impulses , his definition of God . While no one would deny Bonnard engages our eye as a fine painter , and our emotions with his domestic hedonism , he also challenges our patience , our sense of proportion , and our historical understanding of modernism . Not for the last time , Rembrandt turns artisan , like his friend the silversmith Lutma , whose elaborately punched and scalloped plate he used in many of his histories , manipulating the paint surface like a craftsman , working the dense ochers , lead-tin yellow , and lead white on the King 's robe and crown into a brilliantly reflective fabric .