The rise of the objective image polarized the visual space of art and science, just as the role of the two domains split over the role of the will… Only in the early nineteenth century did Romantic artists begin to defend the willful imposition of self as the sina qua non of art. For their part, scientists increasingly insisted on the opposite: their images must be purged of any trace of self.

 

Lorraine Daston and Peter Galison, Objectivity, Zone Books, 2010, p.187