. Moore, Moore's second essay in Modern Painting, entitled 'Chavannes, Millet and Manet', dissolution also characterises the critic's comments on Berthe Morisot's portrait by Manet, Le Repos (1870-1871), with its disturbing echo between the white dress with black spots, 'une robe a poix' (sic.), and the face, itself dotted in a way, full of gaps and blanks: It is a very simple and yet a very beautiful reality. A lady, in white dress with black spots, sitting on a red sofa, a dark chocolate red, in the subdued light of her own quiet, prosaic, French appartment, le deuxieme au desssus de l'entre-sol. The drawing is less angular, 's ekphrasis reproduces the observer's fragmentary vision of the painting as much as it describes the object itself. It dissolves the picture into fragments of body and face, pp.25-26

, finally the tip of a foot) that are added to the face with its 'ominous spaces' that cannot be explained 'like the face in every picture by Manet'. In this Impressionist painting, the spaces 'unaccounted for' which disorientate the art critic could be considered as emblematic of modernity. Disturbingly enough, they are to be found in the visage, the site of identity, which therefore becomes the locus where forms are dissolved and where realism is deconstructed. While still adhering to its tenets, Moore was beginning to embrace new modes of representation: in painting as he strove to make sense of the Impressionist experiments; in literature with a move from realism to symbolism then to modernism and the creation in his fiction of the melodic line, The ekphrasis is built on fragments, salient bodily parts (bosom, waist, hips, knees, and

. Moore, Quand voir, c'est perdre' (Didi-Huberman 1992, 14): to see is to lose, says Georges Didi-Huberman about the experience of gazing at a picture. Loss and blindness are central to the experience of painting in Moore's work, whether it involves the painter or the spectator. Biographical elements related to Moore's fascination with painting and his failure to become a painter justify the presence of image in text, but more interesting is the modality of this presence, for images remain 'in the air'. If they are perceptible in the text, they are like phantoms or pre-texts which haunt it, while intermedial relations are illustrated through the painter's failures or the art critic's silences. Both Lewis Seymour and some Women and Modern Painting are underlain by a constant tension, the very movement from the verbal to the visual which, pp.33-34, 2002.

W. Cited, B. , and R. S. Paris, Les Cinq Paradoxes de la modernité. Paris: Seuil, 1990. DOULAMIS, Konstantin. 'Lost in Translation? George Moore's The Pastoral Loves of Daphnis and Chloe and rewriting Longus'. George Moore: Artistic Visions and Literary Worlds, pp.86-101, 2006.

D. , G. La-peinture-incarnée, ;. Paris:-minuit, and G. , Ce que nous voyons, ce qui nous regarde. Paris: Minuit, 1992. LOUVEL, Liliane. L'oeil du texte. Texte et image dans la littérature de langue anglaise, 1985.

L. and L. , Texte/image, images à lire, textes à voir, 1886.

M. and G. , Modern Painting (1893), 1917.

P. and L. Woman, Image, Text: Readings in Pre-Raphaelite Art and Literature, 1991.

R. and B. , Rendre l'invisible, ou les affleurements de la chair: chiasme et symbole dans la peinture de Dante Gabriele Rossetti, vol.3, pp.231-244, 1993.

R. and L. , , 2008.

O. Wilde, Complete Works. Glasgow: HarperCollins, 1999.