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Art theorist Robert Vischer argued that when we look at a painting, we "feel ourselves into it" by imagining our body in the posture of a nonhuman or inanimate object in the painting. For example, the painting The Lonely Tree by Caspar David Friedrich shows a tree with contorted, barren limbs.[2] Looking at the painting, some recipients may imagine their limbs in a similarly contorted and barren shape, evoking a feeling of strain and distress.[citation needed]