This essay examines the relationship between the art-historical canon and the concept of objectivity in the history of art. Those critics who first established the canon of Northern Renaissance art, for example, did so on the basis of explicit cultural values such as nationalism and religious sentiment. This contrasts with the art-historical writing of our own time, which usually assumes that the status of the works it discusses is self-evident. The author argues rather that the subjectivity of the art historian must be recognized if the cultural meaning of the past is to be fully articulated in contemporary terms.
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