The painting
The description of art by the narrator is a perfect example of sight imagery. The narrator says, “The painting was large and square. It had a kind of fawn-colored background nearly obscured by frantic, scribbled loops of orange and red, relentless, swirling in an exhausting scrawl.” When Salo wakes up from his dizziness, he sees in front of him a big painting that seems to help him recover from his dizziness. The painting is large, orange, and red. It has an obscured background to symbolize its ability to divert attention. By looking at the painting, Salo forgets that he had fainted some few hours ago.
Salo’s apartment
The narrator paints a clear picture of Salo's apartment to aid readers in seeing how it looks in both its interior and exterior. Salo rents a one-bedroom house in a white brick building. The building is located on Third Avenue and is perfect for a young professional like Salo. Inside the house, there is a convertible sofa, a glass coffee table, and a couple of chairs. This description paints a clear picture of Salo's residence and plays a critical role in depicting the sense of sight.
The accident scene
In chapter two, "The Stendhal Syndrome," the narrator opens with sight imagery, showing readers how the accident occurred. The narrator paints a clear image of what transpired before the family jeep got involved in an accident. The Jeep started by losing contact with the ground. After stretching out of the road, the vehicle tumbled, and the occupants inside coiled and snapped. Luckily, there were no serious injuries. Out of this description, the reader sees the scene of the accident and its main cause.
