The dissertation is based on the hypothesis exploring the role of metonymy in the structure and logic of image as an important and mutual factor in the relation of painting and moving images (film, video art and so on). The basis of the conceptual and semantic content in the relation of painting and moving images is the medium of image and its dual model: relationship of image to the world around us and relationship of image to our mental constitution. The metaphoric analogy of the image perspective and our direct perception is based on the metonymic substitution of PERSPECTIVE FOR EXPERIENCE as a semantically active zone necessary for the interpretation of perception. The differentia specifica of this approach is investigating the role of image within the image itself, which explains the crucial role of metonymy in the production and interpretation of image. By applying this model the ontological level of image (meaning, concept, object and true value) meets the epistemic (sense, mode of presentation and thinking) and finds its realization in the artistic-formal level (iconic sign, appearance and expression). In this way analysis and interpretation of image is based on contemplating metonymy as a cognitive and conceptual model of registering real phenomena and factual conditions of the media reality of image, which is being investigated within the scope of the conceptual complexity of the elementary, constructional, compositional and semantic image context. For that reason metonymy is a useful translation device in understanding the structure and logic of creating image, the nature of the relation between its appearance and what it displays, expresses or signifies. According to this concept the poetic and heuristic role of metonymy is an adequate starting point and an appropriate device in the analysis and interpretation of image.