Ni os, ni muscles, ni sang, ni vie, ni relief, rien enfin de ce qui constitue l'imitation
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"Ni os, ni muscles, ni sang, ni vie, ni relief, rien enfin de ce qui constitue l'imitation" (“Neither bones, nor muscles, neither blood nor life, nor relief, nothing in fact of what is imitation”) is a criticism by French art critic Charles Landon with regards to Ingres's the Grande Odalisque.
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