The creation of Meditation with Bread, Water, and Velvet followed a deliberate, layered approach rooted in the classical Flemish method—a process developed in the 15th century and refined over generations to achieve unparalleled depth and clarity. This traditional technique allows the artist to build the image gradually, each stage informing the next and contributing to the painting’s final presence.

The process began with a period of observation and arrangement. The bread, the water glass, and the draped velvet were not chosen arbitrarily, but selected for the way their textures, shapes, and light-handling qualities spoke to one another. They were composed within a controlled setting, often a shadow box beside the easel, where lighting could be shaped with precision. Several thumbnail sketches were made to refine the composition and internal geometry of the piece before any paint touched the panel.

Once the arrangement was finalized, the image was drawn onto the prepared panel using charcoal and fixed with a light seal. The underdrawing served as the map for the next stage: a monochromatic underpainting in shades of gray or warm brown. This layer established the foundational values of the work—the relationship between light and dark, volume and recession—without the distraction of color. Often referred to as a “grisaille,” this step is essential in creating the structure upon which the luminous color glazes will later rest.

When the underpainting had dried sufficiently, thin layers of color—glazes and scumbles—were applied on top. These translucent films of oil paint allow light to penetrate and bounce off the underlying values, generating a subtle radiance and dimensionality. Each layer required careful drying before the next could begin, and adjustments were made gradually to ensure balance across the composition. Particular attention was given to the reflective properties of glass and the rich, flowing folds of the velvet cloth.

The entire process took place over many sessions, sometimes weeks apart, allowing for careful revisions and refinements. It is this accumulated attention—the layering of vision, hand, and time—that gives the painting its final depth and presence.