In recent decades, significant changes have taken place in ideas about the nature of historical knowledge, one of the consequences of which was the problematization of the accessibility of the past for the historian. Today, it is increasingly apparent that the paintings he creates are largely due to his own position in relation to the subject of study and those research strategies that he voluntarily or involuntarily uses. Moreover, in both cases, these positions and strategies are determined by specific social, political and cultural contexts.