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Оформление интерьера в стиле арт-нуво.

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T. Mitchell, who defines ekphrasis as the verbal description of a visual representation, states that, in the ekphrastic experience, we go through different phases of thought. He calls the first phase, “ekphrastic indifference”, because words can “cite” but cannot “sight” their objects; therefore, ekphrasis, due to the characteristics inherent in each media, becomes a practical impossibility. In the second phase of thought, which Mitchell calls “ekphrastic hope”, the prior phase is vanquished, through imagination or metaphor, when we discover that, language used deftly, can make us “see”, through the imagination, the persons, places, or objects it describes.

Lessing’s argument is incomplete because it excludes art’s cognitive function that stimulates the processes of internalisation, identification, and recognition. Lessing’s argument is based on how painting and poetry should imitate reality but ignores which aspect of reality each art represents. His argument can not be corroborated by modern art, which uses a fragmentary pictorial space, instead of a homogeneous one in which the continuum of the pictorial space is distorted. Modern art uses the artist’s suggestive capability and the viewer’s perceptive experience in the aesthetic experience, and neglects the principles of logical contiguity or continuity.

The rest of her body is outside the picture’s frame. The next sequence introduces her face composed of her nose, cheeks and lips; her torso, arms and her rounded hips. The illusion of movement is created by the fact that we look at one figure/outline after another. Through the repetition of curves around the pelvic area, and the recurring angles around the thighs, Duchamp creates the illusion of several nudes superposed on each other, a technique which gives the impression of movement and adds depth to the anatomy.

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Art nouveau decoration ameublement

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