David Freedberg is best known for his work on psychological responses to art, and particularly for his studies on iconoclasm and censorship (see, inter alia, Iconoclasts and their Motives, 1984, and The Power of Images: Studies in the History and Theory of Response, 1989). His more traditional art historical writing originally centered on Dutch and Flemish art. Within these fields he specialized in the history of Dutch printmaking (see Dutch Landscape Prints of the Seventeenth Century (1980)), and in the paintings and drawings of Bruegel and Rubens (see, for example, The Prints of Pieter Bruegel the Elder (1989) and Rubens: The Life of Christ after the Passion (1984)). He then turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin, before moving on to his recent work in the history of science and on the importance of the new cognitive neurosciences for the study of art and its history. Freedberg has also been involved in several exhibitions of contemporary art (eg. Joseph Kosuth: The Play of the Unmentionable (1992)). Following a series of important discoveries in Windsor Castle, the Institut de France and the archives of the Accademia dei Lincei in Rome, he has for long been concerned with the intersection of art and science in the age of Galileo. While much of his work in this area has been published in articles and catalogues, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002). In 2015 Freedberg was appointed Director of the Warburg Institute at the University of London.