ABSTRACT
As painters and subject spirits of the Establishment, someone could proclaim that the most beautiful and important perceptions are composed of lines and colors. And as court painters, he/she could drag all objects out of the world of perception, everything that is of value, all needs, anything substantial. Someone would require as painters for the ruling classes no specific perceptions, like anger in the face of injustice, or desire for certain things which are wanting, no perceptions bound to knowledge which call up other perceptions of a changing world. It is clear that motifs, recognizable objects in painting, must, in our world of class conflict, redeem the most diverse perceptions. The perceptual objects which he composes emerge from his relations to the objects which he reproduced; it is specific objects of perception which may alter the relation of the viewer of his paintings to the objects represented in them.
