Abstract
This article presents two Fra Angelico profiles by two art historians, Giulio Carlo Argan and Georges Didi-Huberman. It shows existing approaches between the authors’ perception about the unusual character of Angelico in the context of the Italian Renaissance and different methodologies used in these approaches. It analyzes the different interpretation given by the historians to the paintings of the artist, and talks about Angelico’s formative intellectual sources, like St. Thomas Aquinas, and the dialogue of both authors with the production of Giorgio Vasari. Through this, this work reflects on two different historiographical perspectives (Argan’s modern perspective and Didi-Huberman’s contemporary perspective) looking for the limits of their methods.
keywords:
historiography; Renaissance; critical; space; Fra Angelico
