Shinnors’ painting “The Southill Salomé” (Fig 2-7, 1982) is an example of what Dunne described as his early “super-realist” level of representation. On examining the picture, it is clear that the virtuoso painting techniques, which Shinnors currently employs were not yet evident; there are no signs, for example, of his signature scumbles, impasto or sgrafitto which we have come to associate with his mature style. Present instead are the tropes of illusionistic rendering - wet on dry painting, gradients, subdued brushwork, chiaroscuro, and trompe l’oeil.
