Moshe Barasch. Icon: Studies in the History of an Idea. New York University Press (1992)
For centuries it had been taken for granted (mainly in the culture of Antiquity) that the aim of painting is the representation of what can be visually perceived in the world around us. In defining painting as the rendering of perceived nature, one also set the limits of the art. It is only what we actually see that can become the subject matter of painting. But if you believe that the icon shows what otherwise cannot be seen, you enlarge the scope of painting as compared to the views held earlier. A new dimension is now incorporated, as it were, into the domain of the image.
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