flower painting is strongly light-biased - shadow is suggested rather than declared. Built on cool foundations: the palette favours the blue-cyan-green arc. Saturation is deliberately withheld - the beauty here lies in the near-monochromatic gradations rather than colour difference. The most saturated colour, #B56346, is reserved to 4.2% of the surface, where it acts as a focal punctuation. Value range is moderate at 48 units - enough contrast for legibility, not so much as to fragment the tonal unity. High luminosity and cool temperature suggest the plein-air condition: unfiltered daylight and open sky.