In the early sixties, Werner Berg’s colorism was marked by the unusually frequent appearance of red and orange tones. At times, the new colorism is also accompanied by a changed treatment of light and shadow. Modeling using light and shadow is not graduated, and unusually sharp divisions arise when illuminated surfaces are set next to darkened ones. Here the illuminated surfaces are kept in warm orange, while the shadowed areas are blue-violet. The “resplendent” colorism underlines the seriousness with which both gamblers observe the game.