[lemma=in | □]
[lemma=in | □ | □]
[lemma=in | !□]
We have seen that they did not concern themselves overmuch with the real appearance of the figures and landscapes , and that their drawing and perspective were therefore not very convincing . Copley signed the portrait , but in letters so minuscule that hardly anyone could read them . Tumors in these mice arise after a latency of similar length , have similar growth characteristics , and metastasize to the lungs with similar frequencies regardless of whether they do or do not contain a mutant H-Ras gene ( data not shown ) . The treatment of the sky and of the areas between the various landscape objects , the boats , lighthouses and breakwaters , in terms of the same facets or pictorial units into which the objects themselves are dissolved , has the effect of making space seem as real , as material , one might almost say as ' pictorial ' as the solid objects themselves . Fourthly , they have a certain decorative value . It has been possible to return to the figure and still be considered relevant to the age , Just as artists are able to express themselves in a figurative language , so may art historians . I am often tempted to forget that these are questions , and to think that he is suggesting answers , but there are no answers here ; there are three fundamental questions , posed visually . I added that I was not only a painter but a man , that I did not make art for art 's sake but to vindicate my intellectual liberty , and that I alone of all my contemporaries had the power to translate and render in an original manner , my personality and my society . I know that I am supposed to swoon over all the tonal juxtapositions of paint that came into view . Or is this , like so many other gestures in Caravaggio 's oeuvre kinesthetic - is she making us aware that if we can see , we can also hear ? She is horrified , the only character responding sympathetically to the execution . No specific detail seems to be derived from them , but we can sense their reverberation - notably Raphael 's Stanza della Segnatura in the combination of circular forms with horizontals , the ample space , and the integration of the figures and the building . I do not know which is nearer the truth . They also told him that his eyes were like those of an Assyrian king . Whereas in the Atelier every figure is a personal symbol related to a visual experience , and it is not Proudhon 's philosophy but the mysterious workings of the pictorial intelligence which have brought them together . I wish he could see us now , looking with awe at this supreme painting . 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 . They were both in their early thirties , and they could not have been more different . Incredibly , she covers her ears rather than her eyes ; are the sounds - those of the actual decapitation - worse than the sight ? Indeed , there have been few artists in history who have so sustained an interest in making pictures of themselves throughout the different phases of their careers . Some scholars believe that they were simply craftsmen who derived all their ideas from learned patrons .