Take the colour out of a forest and something useful happens: it stops being summer or autumn.
A green woodland canvas is a summer picture hanging on your wall in February. A gold one is permanently October. In monochrome the scene simply is a forest, which means it never falls out of step with the light outside or with a room you redecorate in five years.
Form and tone. Without hue to carry the image, everything rests on the arrangement of light and dark, which is why monochrome work tends to look more composed than colour work of the same subject.
It is also the reason black and white photography survived colour entirely: removing information forces the rest to be better.
Neutral tones sit against grey, cream, navy, brick or wood without any planning at all. If you want a wolf on the wall and you do not want to think about the scheme, this is the one.
What is actually in the picture is a stand of birches in mist with a single wolf standing among the trunks, facing the viewer and looking straight out at the room. It arrives as a run of separate panels of stepped heights rather than one canvas, with the wolf in the tall panel at the centre, so it wants an open stretch of wall rather than a neat square.
See the painting size chart and the wolf painting collection.
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