Abstract
This essay explores self-referential models of patrons and painters in a number of central Italian works from the fifteenth and early sixteenth centuries. It argues that the Expulsion of Heliodorus established one of the earliest sites of reception where the viewing audience would have construed the painter as a “creative” artist who, through the work of his fantasia, represents the metaphysical truth of sacred history. The Heliodorus marks an inaugural moment in the history of what today we call artistic intention.
Original language | English (US) |
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Pages (from-to) | 466-492 |
Number of pages | 27 |
Journal | Art Bulletin |
Volume | 79 |
Issue number | 3 |
DOIs | |
State | Published - Sep 1997 |
ASJC Scopus subject areas
- Visual Arts and Performing Arts
- History