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 .
|Published (Last):||15 March 2008|
|PDF File Size:||16.91 Mb|
|ePub File Size:||8.67 Mb|
|Price:||Free* [*Free Regsitration Required]|
We will remember the light against our face and above all the omnipresent white—that present white of the fresco diffused throughout the space of the cell. These verb usages frequently — and cunningly — intermesh with the psychoanalytic lexicon, but the extent to which this is true only becomes apparent in Chapter 4, where the relationship between images and unconscious processes takes center stage.
Such, then, is the not-knowledge that the image proposes to us. It is as if the affectation of a value, positive-inflamed in one sense and negative-frightened in the other, were not enough to reduce the irony of one and the same phrase being brandished by two rival fac- tions: Pliny here announces at the out- set its color, so to speak — the color of that which is past: Questioning imagee Ends of a Certain History of Art.
The point of commonality is this general notion of mystery to which a Dominican brother decided one day to subject all his savoir-faire as a painter. Like- wise, secondary or archaic definitions of French verbs are often confornting to account. Fourth approximation to renounce the confrontung of the history of art: This book would simply like to interro- gate the tone of certainty that prevails so often in the beautiful disci- pline of the history of art.
So we must huberan to the principled objections, in any case to the suspicions that this question can raise in a domain that today justifies itself by the internal progress of its method, and thus by its legitimacy — a legitimacy that we must, in turn, interrogate against the measure of its own methodology, in other words of its own history.
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.
There is every reason to believe that a budding iconographer entering this tiny cell would need only a couple of seconds, once the fresco was visible, to read into it: It is the curse and the blessing of Kunstwissenschaft that its objects necessarily lay claim to an understanding that is not exclusively historical. Today the word iages is imagse adjectivally and pejoratively, but we must not forget the pro- found social reality of the academies of art in the Cinquecento, wherein these debates, the paragoni, had only an effect value even if the effect always had consequences.
Insofar as the English edition fails to convey these qualities, the fault is entirely mine. Two medieval treatises facing Vasari: It treats of an absolute Other and submits to it wholly, a God who alone commands and possesses this knowledge.
Full text of “georges-didihuberman-confronting-images”
Where death insists in the image. Third approxima- tion to renounce the iconographism of the history of art and the tyranny of imitation: We would agree to imagine, the sole safety-rail being our poor historical knowledge, how a congronting Dominican named Fra Angelico could in his works pass on the chain of knowledge, but also break it up to the point of its unraveling completely, so as to displace its paths and make them signify elsewhere, otherwise.
We see that, from the standpoint of a hubegman history, the most immortal objects are perhaps those that have best realized, best achieved their own death.
The question is worth posing, and worth posing again for every object. But no sooner were these doors open than he seems to have securely closed them again, allowing critique only a brief moment of passage: Where object of knowledge imayes form of knowledge.
imahes The risks are great, of course. Theology itself is not con- strued here as a knowledge such as we understand the word today, which is to say as something that we can possess. All dici appears, then, is the quality of the figurable—terribly concrete, illegible, presented.
Constructed share, cursed share Third approximation to renounce the iconographism of the history of art and the tyranny of imitation: The important thing is not some improbable translation, term-for-term, of a specific theological exegesis, but an authentic exegetical work that the very use of a pigment successfully delivered.
Confronting Images: Questioning the Ends of a Certain History of Art
Powers of consciousness and return to the ideal man Second magic word: Its invention was quite recent, by comparison with the invention of its object: The metaphysics of Federico Zuccari. Hubberman figuring equals disfiguring Extent and limits of the dream paradigm.
Then again, it is by no means abstract; on the contrary, it offers itself as an almost tangible blow, as a visual face-off. He bequeathed to us a dialectic of rules and their transgression, a subtle interplay between a regola and huuberman licenza that can, it all depends, be deemed the worst or the best.
Review quote “I cannot think of any more important book in the recent history of art. This can be achieved only at the price of a distanced gaze: Who- ever would draw the concepts of virtue from experience. The work will also disappoint art historians well acquainted with the formal profusion of Quattrocento Annunciations: How could anyone complain about that?
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 het- erogeneous. There are, as it happens, two ways of responding to such objec- tions.
Confronting Images : Questioning the Ends of a Certain History of Art
The historian is, in every sense of the word, only the fetor, which is to say the modeler, the artisan, the author, the inventor of whatever past he offers us. Each of the hypotheses has its truth value, especially the second, which well explains why, four centuries 54 Confronting Images after its dawning, the history of art can still place itself under the sign of humanism, 3 or under the implicit constraint of a cruel postulate that might be stated as follows: I only want to suggest that in this domain the questions survive the articulation of every answer.
If there is nothing between the angel and the Virgin in his Annunciation, that is because the nothing bore witness to the indescribable and unfigurable divine voice to which Angelico, like the Virgin, was obliged to submit completely.