1. The notion of depiction here derives from Monroe C. Beardsley, Aesthetics: Problems in the Philosophy of Criticism (New York: Harcourt, Brace, and World, 1958), Chapter 6, section 16.
2. See also: Goran Hemeren, Representation and Meaning in the Visual Arts (Lund: Scandinavian Books, 1969), especially Chapter 2.
3. See Arthur Danto, ‘Description and the Phenomenology of Perception’, in Norman Bryson, Michael Ann-Holly and Keith Moxey (eds.), Visual Theory: Painting and Interpretation (New York: Harper Collins, 1988), pp. 201–215.
4. This name for the phenomenon in question was suggested to me by Albert Rothenberg’s notion of homospatial thinking. However, I use the idea of homospatiality far more narrowly than does Rothenberg as will become apparent in this article. He applies the term to music, to literature and to all sorts of visual art, whereas I use the term to refer only to certain forms of visual imagery. For Rothenberg’s wider conception, see Albert Rothenberg, The Emerging Goddess: The Creative Process in Art, Science and Other Fields (Chicago: University of Chicago Press, 1979), pp. 268–328.
5. In Francoise Gilet and Carlton Lake, Life with Picasso (New York: Signet Books/ McGraw Hill, 1964), pp. 296–297.