Black, white and a bright turquoise green, with the wolf lit pale against the dark and no other colour let into the picture. The glow is a stylistic decision; the choice of hue is closer to documentary.
By moonlight your eyes switch to rod vision, which has no colour discrimination worth speaking of and shifts sensitivity toward the blue-green end. A moonlit landscape genuinely does drift that way for a human being: greenish, and nearly free of any other colour.
Painters who render night in full colour are the ones taking liberties.
Worth knowing how dim the source actually is. The moon reflects only around twelve percent of the sunlight that reaches it, which makes its surface about as reflective as worn asphalt.
Everything ever written about moonlight is about the glow off a large piece of dark grey rock.
A deep palette wants a wall the daylight crosses rather than one it faces, or the surface mirrors the window at midday.
Our article on the white wolf covers the animal. See the painting size chart and the wolf painting range.
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