Their solution was to yield most of the canvas or panel to the gray, fog-and cloud-filled sky (curator Emilie Gordenker, director of the Mauritshuis, calls them "our Dutch mountains"), with blue openings torn into the gray here and there so that spots of sunlight could illuminate parts of the land or water below.
Attempting to achieve the enamel-like surface of early Renaissance panel painting, they painted on smooth panels or on fine-woven canvas rigidly stretched.
And there was that delighfuly wild and crazily colored print, which from afar looked like a wacky Jeff Koons canvas (a closer look revealed that it is an abstracted floral print), used as a front panel on a sleek white dress and as a sleeveless jumpsuit.