Draws attention to the fact that what Alberti says is not that a picture is a window, as antimodernists assume, but that he draws a rectangle on the surface, which he then treats as an open window through which the subject to be painted is seen; and argues that the window is thus a trope and a signal of the fictive poetics of painting. Traces the history of the misunderstanding of the "window" in art history and criticism since Ruskin, focusing on Gombrich and his influence.
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