the thought that aesthetic experience, or art, or both, possess a life of their own apart from other human affairs, where under the latter heading are included the objects and processes of moral, social, political, psychological, and biological inquiry 

point at which compositional lines in a two-dimensional work of art converge or from which they diverge or appear to diverge 

a modernization program of the city of Paris commissioned by Napoléon III and led by the Seine prefect, Baron Georges-Eugène Haussmann; work continued until the end of the 19th century 

a written statement declaring publicly the intentions, motives, or views of its issuer 

representing or intended to represent no natural or actual object, figure, or scene 

a substantial body of work constituting the lifework of a writer, an artist, or a composer 

a particular theory about the nature of being or the kinds of things that have existence 

insurrection of Paris against the French government from March 18 to May 28, 1871; occurred in the wake of France’s defeat in the Franco-German War and the collapse of Napoleon III’s Second Empire (1852–70) 

the study of structures of consciousness as experienced from the first-person point of view 

 an imaginary flat surface that is assumed to be identical to the surface of a painting; forms in a painting meant to be perceived in deep three-dimensional space are said to be “behind” the picture plane; the picture plane is commonly associated with the foreground of a painting 

 the physical position from which a spectator views a work of art 

connotes a concern with the reaction or response to a work of art or literature and thus implies a shift in emphasis from the production or creation of the work, or from the writer or artist, to the perception or interpretation of the reader or beholder 

 the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France 

term loosely applied to art produced by means of a systematic or highly organized approach to an image or concept; it is often manifested by repetition, series, simplification and progressive variation 

 a concomitant sensation; especially: a subjective sensation or image of a sense (as of color)

other than the one (as of sound) being stimulated 

1914 to 1918 opposed forces: the Allies (based on the Triple Entente of the United Kingdom, France and Russia) and the Central Powers (originally centered around the Triple Alliance of Germany, Austria-Hungary and Italy; but, as Austria–Hungary had taken the offensive against the agreement, Italy did not enter into the war)