We who know most paintings by their photograph are more often than not looking at distortions that arise from the process itself. Flattened as a three dimensional object, the painting becomes a shadow of its former self, the energy that once was live on the canvas now lost on the page. But our eye acclimates, and we read distortions of color and texture and surface with infinite grace, and we have mentally replaced the copy with the original until we come to see it face to face.
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