james jean, yoshitaka amano, ljuba popovic, miles johnston, agnes pelton, moebius, salmon khoshroo, lee griggs, timothy von rueden, odilon redon, miles johnston, wassily kandinsky, mondrian, mariusz lewandowski, klimt, mohrbacher, peter ferguson, leonora carrington, yukio kitt, yago hortal, lindsay kennedy, william bradford, william turner, by francois - auguste biard, lowell birge harrison, ivan aivazovsky, geovanni strazza, bernini, gerhard richter, zdzislaw beksinski, alphonse mucha, wallace and gromit, yoji shinkawa, kastuhiro otomo fang lijun, ramona zordini, james turrell, olafur eliasson, by cliff childs, inarticulatable space between words and images that foucault seeks to highlight. foucault believes that, “ the relation between language and painting is an infinite relation … neither can be reduced to the other ’ s terms : it is in vain that we say what we see. ” there may not be any easy translation between language and vision.. this painting may signify the failure of the classical period to represent representation, and even more than that, it may be the case that any historical episteme may be entirely unable to operate outside of itself, it is possible that art is incapable of self - reflexive representation. shapiro writes, “ foucault is indeed concerned to make inescapable the gap between what we are able to say about the painting and what the painter, the king, or informed observers in the seventeenth century would have been able to say about it... every ekphrasis, we might say, is specif exstitute classical representation : that being the artist ( the one who represents ), 