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But this Alpine expedition does not put an end to my questions , for I feel that this , too , is part of the same mystery ; Leonardo is looking at the world as if from one of his projected flying machines , and seems to be pondering on its age and its ultimate hostility to human life . Or does it mean only that El Greco was the devout admirer of Titian , which would commend him to Alessandro Farnese ? Titian certainly meant more to him than Tintoretto and Bassano , although a few tricks of mannerism which appear in the work of all three give an illusion of similarity . He was a difficult man , and Jo was far more emotionally involved with him than he with her ; one of her methods of keeping him with her was to insist that only she would be his model . Courbet subsequently called this couple ' amateurs mondains ' , but she is painted with great warmth , and she is obviously there simply because he liked the look of her . Yet , one can not assume a class effect based on the heterogeneity observed between the 3 individual NSAIDs . " " The first thing to consider , if you wish to recognize a good painting , is whether the movement is appropriate to the state of mind of the person who is moving ; - secondly whether the more or less pronounced relief of objects placed in the shadow is adjusted to the distance ; - thirdly , whether the proportions of the parts ( of the body ) correspond to those of the whole ; - fourthly , whether the choice of positions is appropriate to the type of actions ; - fifthly whether the detail of the figures corresponds to their character , that is , delicate limbs for delicate people , strong for the strong , fat for the fat , etc. " Human movement may be understood through knowledge of the parts of the body and the entire series of the positions of limbs and articulations , - then , set down by means of some stenographic notation the actions of people , with their particulars , without them noticing that you are observing them ; - for if they realized it , this would intrigue them and the act in which before they were completely absorbed will lose some of its force ; - for example , when two angry men are in the midst of an argument , each thinking that he is right , they agitate their eyebrows and arms and other limbs with much vehemence , making gestures that are appropriate to their words and intentions . " I have subtitled my book " The Nature of Observation " to anchor Homer 's life and practice in these shared understandings . These lines describe how the clumsy giant Polyphemus sings a love song to the fair sea-nymph Galatea and how she rides across the waves in a chariot drawn by two dolphins , laughing at his uncouth song , while the gay company of other sea-gods and nymphs is milling round her . While no one would deny Bonnard engages our eye as a fine painter , and our emotions with his domestic hedonism , he also challenges our patience , our sense of proportion , and our historical understanding of modernism . As the memory of this sublime work , with its circle of doomed humanity in a desert concentration camp , passes through my mind , I look again at the Espolio and realize how completely different it is from anything in Italian painting . Between them , painted with extreme delicacy , is Christ 's foot , and I notice that the three women are looking fixedly at the nail with which it will soon be pierced . " " I enjoin you not to encumber yourself with words , unless you address yourself to the blind ; - if you want to address yourself through words to the ear , and not to the eye , discuss such things as substance and nature ; - do not trouble yourself with things of the eye , to try and make them pass through the ear ; - you would be far surpassed in this by painting . Painting , for him , is more than a substitute for the written word . " " You will not give to the face of someone crying the same movements as to the face of someone who is laughing , even though ( in reality ) they often look alike , - for the right method is to differentiate them , as the emotion of laughing is different from the emotion of crying . In her brushwork she developed contrasts of size , direction , and velocity , and elaborated darker and lighter accents and contrasting touches of color to express the sparkling play of sunlight and shadow . Incredibly , she covers her ears rather than her eyes ; are the sounds - those of the actual decapitation - worse than the sight ? I am ashamed to say that I once thought so ; but the longer I look at this extraordinary picture and at Goya 's other works , the more clearly I recognise that I was mistaken . That , too , one can find in Leonardo 's early work , and most significantly in the first figure which seems to come from the depths of his imagination , the angel in the Louvre Virgin of the Rocks . Her chariot had been driving from left to right with her veil blowing backwards , but , hearing the strange love song , she turns round and smiles , and all the lines in the picture , from the love-gods ' arrows to the reins she holds , converge on her beautiful face in the very center of the picture . " " The one shedding tears raises his eyebrows on the inner side , and contracts them , and creates wrinkles between and above them , - the corners of the mouth are turned down , but the one laughing has them turned up and his eyebrows are separate and raised . Homer 's paintings , I believe , come to us as marks of confidence in the importance of observation , its intimate relation to life , and the ultimate reality of nature . He thought surface more important than depth , and suddenly brought a head to the front of a design if it suited him ; he thought colour more important than drawing , and scandalized Pacheco by saying so ; and he sought to communicate his emotion by pictorial means , even if it involved distortion or an almost incomprehensible shorthand .