The thesis discusses Giulio Carlo Argan s historiography in the context of the Italian Renaissance, focusing on the spatial question that begins with linear perspective s discovery in the construction of Brunelleschi s dome and the frescoes by Masaccio, and also the reaction to this spatiality in Fra Angelico and Sandro Botticelli. In this case, we analyze artistic biographies written by the italian author which debate the issue of space and its historicity, in order to comprehend the ethical and historical nexus built by him between the Italian Renaissance and modern art, checking their theoretical and philosophical references in contrast to other historiographical projects that revisited the period from different interpretations, as is the case of Erwin Panofsky, George Didi-Huberman, Fredric Antal, Jacob Burckhardt, Aby Warburg, among others.