Depictee

One of the nodes in a depiction is identified as the depictee; depictions describe their depictee in terms of their other nodes, which are known as depicters.

In the depiction D-HUMAN, N-ARM acts as a depicter; at the same time, in D-ARM, N-ARM is the depictee—the subject of the depiction.

Nevertheless, Keaton produced photographs of a person he positively identified as the claimant, who was sitting before him at the hearing. The depictee was seen dimly in the truck but somewhat more clearly outside the house, standing and stooping and bending.

[…] it is in avoiding portrayals that are so objectifying, so limiting, so barren of character that they foreclose on any chance of imagining the depictee as a whole person, or of the target consumer imagining himself/herself as a whole person—as opposed to, say, a set of glands holding a remote control.

Video, lay persons familiar with depictee (Conn. App. Ct.), In Brief, 75:29; […]

There are human beings mingling with animals and representations of them. There are periods of time where this co-habitation and simultaneous presences of art depiction and its depictees are vibrant and contemporary and constitute a kind of self-contained culture or society.

There is an irrelevant reading here where David is interpreted as the possessor of the tree, which causes some speakers to prefer (39b). This can be controlled for by using a proper name as the depictee.

Yet the morbid dimension of the painting is best understood as an intimation and not a keen signifier of the actual death of the depictee.