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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Confronting Images : Georges Didi-Huberman :
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Description When the French edition of Confronting Images appeared init won 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. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding.
Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s Lacemaker.
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Confronting Images: Questioning the Ends of a Certain History of Art
Visit our Beautiful Books page and find lovely books for kids, photography lovers and more. Table of contents Contents List of Illustrations Translator’s Preface Question Posed When we pose our gaze to an art image 1 Question posed to a tone of certainty 2 Question posed to a Kantian tone, to some magic words, and to the status of a knowledge 5 The very old requirement of figurability 7 1.
The illusion of specificity, the illusion of exactitude, and the “historian’s blow” Where the past screens the past. The indispensable find and the unthinkable loss. Where history and art come to impede the history of art First platitude: Metaphysical trap and positivist trap Second platitude: Art as Rebirth and the Immortality of the Ideal Man Where art was invented as renascent from its ashes, and where the history of art invented itself along with it The four legitimations of Vasari’s Lives: The history of art as second religion, devoted to the immortality of ideal men Metaphysical ends and courtly ends.
Where the crack is closed in the ideal and realism: The fourth magic word: Where art legitimates itself as unified object, noble practice, and intellectual knowledge. The metaphysics of Federico Zuccari. Where the history of art creates art in its own image 3. Simple reason, or how discourse invents its object Metamorphoses of the Vasarian thesis, emergences from the moment of antithesis: How the visible takes on meaning. Interpretive violence From antithesis to synthesis.
Kantian ends, metaphysical ends. Synthesis as magical operation First magic word: Where object of knowledge becomes form of knowledge. Vasari as Kantian and Kant as humanist.
Powers of consciousness cinfronting return to the ideal man Second magic word: Return to Cesare Ripa. The notion of iconological content as transcendental synthesis.
Confronting Images: Questioning the Ends of a Certain History of Art By Georges Didi-Huberman
Panofsky’s retreat Farther, too far: Where the sensible sign is absorbed by the intelligible. The pertinence of function, the idealism of “functional unity” From image to concept and from concept to image.
The final unity of synthesis in representation. The image monogrammed, cut short, made “pure. The Image as Rend and the Death of God Incarnate First approximation to renounce the schematism of the history of confrontingg To open the image, to open logic Where the dream-work smashes the box of representation. Work is not function. The power of the negative. Where resemblance works, plays, inverts, and dissembles.
Where figuring equals disfiguring Extent and limits of the dream paradigm. Where dream and symptom decenter the subject of knowledge Second approximation to renounce the idealism of the history of art: On questioning the denial of the symptom.
There is no Panofskian unconscious The Panofskian model of deduction faced with the Freudian paradigm of over-determination. The example of melancholy. Constructed share, cursed share Third approximation to renounce the iconographism of the history of art and the tyranny of disi Where figuring equals modifying figures equals disfiguring Fourth approximation to renounce the humanism of the history of art: Two medieval treatises facing Vasari: The history of art is a history of imbroglios Resemblance to life, resemblance to death.
The economy of death in Christianity: Where death insists in the image.
And us, before the image? Review quote “I cannot think of any more important book in the recent history of art.
Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse hubeman debates around ‘cultural studies’ and ‘visual literacy. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language.
His books include Fra Angelico: Dissemblance and FigurationInvention of Hysteria: Phantoms of Time and Time of Phantoms: Book ratings by Goodreads. Goodreads is the world’s largest site for readers with over 50 million reviews. We’re featuring millions of their reader ratings on our book pages hhuberman help you find your new favourite book.