See how the wings of the angel are bent and dragged as the devil pushes the angel. Again, we have to add details and elements to make our work more realistic. Also, the bent and dragging wings, add to the impression of motion and action and violence taking place in the painting's scene.

Detail of the angel's left foot with the Roman sandal.

I decided to identify the devil by adding a red devilish tail to his image. I thought of giving him horns, but I thought it was going to be overkill. Remember that less is much in painting. When you paint too many elements you distract the attention of the viewer and risk that he/she will not get the message you are trying to convey through your painting. 

Detail of the Roman sandal.

See how the flowing hair and the flying leather straps give us the impression of the movement, action, and violence that is taking place in the scene.

Extreme close up of the angel's face. I always like showing the brush work, just to let beginner painters see how to paint difficult elements such as hands, feet and faces. Nothing difficult if one practices a lot. 
Also, I know some of you have asked me why I like painting on wood and why I do not cover the grain and pattern of the underlying wood before I paint. The answer is that I do prepare the wood months before I paint on it, but I like the grain and patterns of the wood panel I am painting on, to show through my painting. Is my style and I like it because The uniqueness of the wood grain and patterns adds to the totality of the final painting. I believe that the wood patterns bring live to my work, and also allows the actual paint to be sucked into the wood through the oils and varnishes. Therefore, the live of the colors remain bright and true to the original tones I applied onto, and into, the wood years earlier.

Extreme close up of the angel's hair. Notice the natural flow and how the light hits the different areas depending on their exposure to the light source. Also notice here how I painted the earlobe to be very succulent and life-like, which along with the veins in his neck and face, not only express physical effort and action, but adds realism to the painting.

Here I just had finished the face of the angel, and I was getting ready to paint the gladius in his hand.

painting the veins and sweat on the wrestling arms of both figures gives the painting more realism. Also notice that these two arms are lighter in color that the arms in the opposite side of their bodies. The reason is that these two arms are up in the air and fully bathed with the light of the light source in this painting. Also notice that the fingers of both hands are paler, due to the force they are being subject of, because one character is pressing the hand of the other very hard, as they are wrestling with each other.

the veins on the angel's right forearm. Also detail of the lights and shadows hitting this are of the bodies of the fighting fiures. 

By painting veins on the angel's feet, one gets the impression of realistic depiction of a human-like figure. Also the veins containing flowing blood, remind us of the fragility of the warrior, who is suceptible to loose his life in the hands of his opponent.

Here, the long feathers of the angel's right wing are scratching the ground and lifting a cloud of dust and dirt in the are. By painting this clouds of dust and dirt around dragging elements, one can pull the viewer into the dynamic scene.

Even though it is very evident, notice how the feet of the angel are pushed against the ground and leave a track imprint on the mountainous terrain as the devil is pushing the angel trying to topple him down. Also, and as to give the painting more realism and feeling of motions and dynamic interaction between the two characters, I have added clouds of dirt around the angel's feet, since they are disturbing the ground as they are pushed and dragged on it. 

Close up of the angel's hand and gladius and of the devil's left foot.

Detail of the angel's right hand and the handle of the gladius his holding.

Close up of the details of both subjects faces. Notice how the movement of the fighting figures is indicated by the flow of the angel's hair, and the leather straps of his shoulder armor. 

Detail of the angel's finished left foot.  

Finally I sign my work.