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In their recent book, Objectivity, Lorraine Daston and Peter Galison oppose the image of the scientist as a rational, objective, an dispassionate investigator of nature with that of the intuitively guided and emotionally volatile artistic genius. The authors argue that the emergence of objectivity as an epistemic virtue in nineteenth-century scienti?c practices was intimately tied to a newly perceived threat to knowledge: that of the subjective self. In their discussion, Daston and Galison cite the artist’s creative imposition of ideas on the world as quintessentially subjective and opposed to science.

On the Subject of Goethe: Hermann von Helmholtz on Goethe and Scientific Objectivity