In this article the author tries to articulate a theory of pictorial reference that would avoid the trap of the strict conventionalism supported by N. Goodman. Making use of the Gibson's notion of perceptual invariants, as well as of Goodman’s notion of exemplification, the author claims that pictures, thanks to the visual properties of their signifier, refer to visual properties of our environment. As pictures exemplify perceptual properties (invariants) such as »to be red«, »to be doglike«, »to be up«, »to be in front of«, etc., strictly speaking, the language or pictures, according Io the author, may be understood as a language which consists only of adjectives and adverbs. From tins point of view, the role of I he painter implies the construction of the signilier that posseses the properties to which he intends to refer. If the author concludes, the reference of pictures relied only on conventions, such an effort of the painter would be unnecessary.
