 The last objection reflects the most widely accepted reason for rejecting resemblance theories such as Hyman’s, in which the basic mechanism of depiction is defined without reference either to the visual experience of a spectator, or to the changing cultural context in which pictures are made. Catharine Abell has defended a resemblance theory of depiction which differs from Hyman’s in both of these respects, and is designed to avoid the objections mentioned above. It is also a more ambitious theory, both because Abell does not distinguish between the sense and reference of a picture, but aims to explain both at once, and because she explains the depiction of specific kinds of objects, such as men and horses, in terms of resemblance, instead of confining the scope of the theory to the shapes and colours of the objects in a picture. Unlike Hyman, Abell does not specify which particular respects of resemblance are necessary for depiction, beyond the requirement that they should be visible (2009: 199), arguing instead that “different respects of resemblance govern different instances of depiction” (2009: 196), including resemblance in respect of optical properties, such as occlusion shape, and response-dependent properties, such as when painters mimic the effect of simultaneous contrast.