Abstract

Like most other art historians, I choose to lecture on Rembrandt and Picasso in an introductory course because I think they are good artists and I enjoy looking at their paintings. This makes me a quite different kind of creature from a political, social, or economic historian, who does exercise preferences in the choice of theme and method but is not expected to enter into a personal, certainly not an emotional, interaction with the events or documents he encounters. I shall not discuss the

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