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Painting a still-life can be a one shot affair, or not. In this particular case, I made four different drawings from various height perspectives, and did one in reverse, light against a dark background. Then I did two oil paintings, one on stretched canvas with an acrylic gesso, and one on canvas glued to a plywwod panel with hide glue, and oil priming white applied with a trowel. The two oil painting, although of the same objects, and both executed in a realistic manner, appear quite a bit different.
Notice that the teapot was turned a little in both of the the paintings, to put the spout so that it thrusts into the fore, out of the picture plane. This was done not for this interesting effect, but because I had laid the teapot in too close to the edge of the canvas, so that the spout was going to be cut off by the edge of the canvas. Instead of resizing everything down, or moving everything to the right, either of which was just going to solve one problem while introducing another, I gave the pot a slight twist, and wound up with a new composition, which was better than the one I had in the drawings.
The drawings and paintings were executed in order, as one would read a text, over a period of about a month.