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Sensations from nature provoke an emotional response from a particular motif around which a painting is constructed. Nature is not slavishly copied but the sensations are submitted to the necessity of making a picture in which the compositional elements are brought into unity over the whole surface to achieve stability. Within the stability there are local areas of dissonance to add a dynamic structure to the composition and to attract the gaze as the painting is examined by very rapid eyedoi:10.2495/dne-v4-n3-219-227 fatcat:gio622cgvvacxnai3lakpmny7y