In the Northern Renaissance in particular, cast shadows transformed these into trompe l’oeil mimicking sculpture. The three crucifixions aren’t shown directly, but only in shadows cast by a brilliant light. In 1891, Lovis Corinth painted four young boys engaged in Shadow Play, here using the light cast from a high window. Collier augments this open narrative with ingenious shadow play: here the mother’s cast shadow makes her appear much larger than the daughter’s, like an ogre bearing down on a child. During the twentieth century, Surrealists and others engaged in even greater shadow play.