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Ripley’s fascination with Caravaggio allowed the Italian master’s famed tenebrism — intense darkness and pockets of equally intense light — to also become a guiding aesthetic for Elswit.

He made a speciality of what Graham-Dixon calls "tenebrism", and fully nine-tenths of his Resurrection of Lazarus is as black as pitch or perdition.

No, he had to admit, he was not having nightmares about the women he cared for—and he cared for them all with these two specially mixing in himself as paint, their pleasures and sorrows his tenebrism.