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Distortion is present when straight lines running parallel with the picture edges appear to bow outward (barrel distortion) or inward (pincushion distortion).
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In One for the Road (the banal but ominous title is typical), the car is trapped by the picture edge, which cuts off the front end.
Around the latter lounge shirtless white youths, singly, in pairs, or in trios, cropped and fragmented by the pictures' edges.
With the wide-angle lens still a thing of the future, the only way for a mid-19th-century photographer to achieve cinemascopic perspective was to stand in one place and shoot, turn a bit to the left or right and shoot again, and later line up the pictures, edge to edge, in sequence.
In every picture the edges of the lily pond are clearly visible, a lifeline to the reality we know.
In a gouache of 1962, for instance, a black semi-figure stands on a white ground, appearing to be a man's head and legs with the torso a broad rectangular form that spreads out to the picture's edges.
In the picture, the edges on the left and right are both incorrectly oriented.
Colours can only occur bounded by the black lines or by the picture's edge.
To the left, barely visible at the picture's edge, is the profile of a high rock cliff.
This draws your attention to a 19th-century structure with barred windows at the picture's edge.
The title "Ashes" refers to the burned-out log that runs along the picture's edge, signifying the death of love.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com