The triptych form again, but emptied out, three weathered green shutters dappled with leaf-shadow, a single pink balloon, a small turquoise jug. After so many crowded fantasies this near-abstract hush feels deliberate, closer to Whistler's idea of a painting as a quiet "harmony" of tones than to any story. The lone balloon, that recurring fragile bubble, is the only living note against the closed façade. It is Wiedijk reminding us, and perhaps himself, that he loves the surface of old wood and falling light every bit as much as his fables.