When the French edition of Confronting Images appeared in , it won To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to. GEORGES DIDI-HUBERMAI. CONFRONTING IMAGES. QUESTIONING THE ENDS OF A CERTAIN HISTORY OF ART. Translated from the French by John. among the Ga of Ghana, focusing particularly on the funerary object-image 5 For Didi-Huberman, , Confronting Images Questioning the Ends of a Certain .

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In short, the religion that Vasari invents is a religion of class — and even a religion of the first class.

The illusion of specificity, the illusion of exactitude, and the “historian’s blow” Where the past screens the past. Description When the French edition of Confronting Images appeared init confrpnting immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky.

So goes the history of art in its average state which is a conquering state: Anachronism is not, in history, something that must be absolutely banished — in the end, this is no more than a fantasy or an ideal of equivalence — but rather something that must be negotiated, debated, and perhaps even turned to advantage. Immortality has here its messianic envoy, who weighs souls and pronounces the names of the elect: Dis- semblance and unction.

Confronting Images : Georges Didi-Huberman :

If I invoke the name of Freud confrlnting counter that of Kant, this is not in order to place the discipline of art history under the yoke of a new conception of the world, of a new Weltanschauung. To open the difi, to open logic Not to think a perimeter, a closure — as in Kant — but to experience a constitutive and central rift: The Kantian tone generally adopted by the history of art perhaps originates in the simple fact that The Critique of Pure Reason can seem — notably in the eyes of those who need not tackle it from beginning to end — like a large temple devoted to the profession of a gospel that is the foundation of all true knowledge.


Question posed to a tone of certainty 2. Vasari, a craftsman himself, never sought to obscure the technical meaning of disegno — as is appar- ent on every page that he devoted to the work of his peers.

Kantism in philosophy had done likewise: The final unity of synthesis in representation. The originary always returns — but it does not return straightforwardly. Here again, what I have called the moment of antithesis produced a rigorous and perhaps uneasy statement of the limits entailed by any posited notion. A reassuring shadow, for his text is a treasure-trove of informa- tion, an almost day-by-day chronicle, a catalogue, an inside view of things: Metaphysical ends and courtly ends.

But what, fundamentally, is a spontaneous philosophy? If this patch of white wall indeed succeeded, as I believe it did, in imposing itself as paradox and mystery for the gaze, then there is every reason to think that it likewise succeeded in functioning, not as an isolable image or symbol, but as a paradigm: Space has been reduced to a pure place of memory.

Confronting Images: Questioning the Ends of a Certain History of Art

imaes We cannot undertake this here, but we can at least sketch a movement. It sufficed that this particular white be there. Panofsky’s retreat Farther, too far: These men constitute a special class, an elite The work will also disappoint art historians well acquainted with the formal profusion of Quattrocento Annunciations: This proposition is the summit, but should be understood as follows: It should go without saying that the element of history, its inherent fragility with regard to all procedures of verification, its extremely lacunary character, particularly in the domain of manmade figurative objects — it goes without saying that all of this should incite the greatest modesty.

In fact, it is trapped by this demand: Vasari, however far he might be from xonfronting manifest preoccupations, bequeathed to us ends, the ends that he assigned, for reasons good, bad, or irrational, to the knowl- edge that bears the name the history diri art.

And us, before the image? But he lacks the necessary experience and his desire is insufficiently pure. It is not in this confroning, where old questions are still posed with new, more exact and efficient tools: Third approxima- tion to renounce the iconographism of the history of art and the tyranny of imitation: We must return, then, this side of the represented visible, to the very conditions of the gaze, imaages presentation and figurability, that the fresco proposed to us at the outset.


Common terms and phrases aesthetic Alpers Angelico art historian contronting images artistic become body called Cassirer Cennini Cesare Ripa Christian color concept constitute critique death detail dialectic Didi-Huberman Diirer discipline discourse disegno divine dream dream-work dybbuk E.

The hypothesis might seem banal. Thus do you make yourself present at the mystery of the Annunciation, beyond representing it to yourself. The risks are great, of course. It has been said only too often: When Vasari used the word, he himself clung to this subtle limit where the history of art in the subjective genitive sense of its practical value empties into the history of art henceforth conceived as an activity of knowledge.

The history of art as second religion, devoted to the immortality of ideal men 6 o. This whiteness is so simple, yes.

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Visual objects, objects invested with a figurability value, develop all of their efficacy to establish mul- tiple bridges between orders of reality that are nonetheless quite vonfronting erogeneous.

Penn State Press Amazon. This discipline, whose status thus can be summed up as offering specific knowledge of the art object, this disci- pline is as we know called the history of art.

But we are predisposed to resist this sensation. There is, then, a real work, a constraint of not-knowledge in the great theological systems themselves. The men who emerge from the ground are muscular, vigorous, and well pleasured.