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History of Art, Reason 137of singular images. Always sticking closely to Kant’s text, Heideggerspecifies: ‘‘This synthesis is neither a matter of intuition nor of thinking.Mediating ‘between’ both, so to speak, it is related to both. Thusin general it must share the basic character of the two elements, i.e.,it must be a representing.’’ 153 Now we understand: this box is just thephilosophical notion of representation taken to its logical conclusion(but whose pertinence to what we call ‘‘representations’’ when welook at works of art is questionable). This box aimed at a process—apackaging process that Heidegger aptly calls, after Kant, a representingunifying. 154 Now in this unifying, the image can exist only as a ‘‘pureimage’’: an image emptied of the irrational economy to which itssensible singularity no<strong>net</strong>heless destines it. 155 But the ‘‘transcendentalsubjectivity’’ has nothing to do with such irrationalities. From thatpoint forward it controls the whole game, for it alone is made capableof synthetic a priori knowledge, it alone can formulate the ‘‘groundlaying’’and the ‘‘essential determination.’’ 156Has the ground been laid, the essence totally determined? Andafterward? What conclusion are we to draw from these results? Perhapsthis: that the history of art, by adopting the schema or moreloosely the tone of the Kantian doctrine, made itself directly subservientto the two constraints that Heidegger, as early as 1927, recognizedat the heart of Kantism. On the one hand, its metaphysical character:thus did the history of art become married without knowing it (rather:actively denying it) to a movement, a method aiming to regroundmetaphysics, and more exactly to make metaphysics into a science. 157By doing this, the history of art made its own desire to become ascience subservient to the neo-Kantian formula of a science spontaneouslyconceived as metaphysics. On the other hand, Heidegger articulatedvery well the logical limit of this whole system: a limit inaccordance with which Kant, likewise spontaneously, reshuffled histranscendental logic into the customary procedures of simple formallogic. 158 Adhering to such a system, the history of art did withoutunderstanding its objects from a phenomenological or anthropologicalpoint of view. Kant, to quote Heidegger again, posited that ‘‘this mannerof investigating the mind and the human being is not an empiricaldiscussion. The only opposite he knew was rational discussion. But
138 Confronting Imagesrational discussion is logical. Hence, if this discussion of the subject,the mind, the faculties and fundamental sources cannot be psychological,then it must be shifted to a transcendental logic’’ 159 —a logic insufficientto understand what is at stake in those human productions thatwe call art images. Can we open this logic, open simple reason, andproceed farther in our question posed to images?
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CONFRONTINGQUESTIONING THE ENDS OF
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LIBRARY OF CONGRESSCATALOGING-IN-PU
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CONTENTSList of Illustrations xiTra
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works, plays, inverts, and dissembl
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xiiList of Illustrations14. Jan Ver
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PREFACE TO THE ENGLISH EDITION:THE
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The Exorcistxviipositive or ‘‘o
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The Exorcistxixwhich takes up the e
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The ExorcistxxiWarburg was a man wh
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The Exorcistxxiiihand, the aestheti
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The Exorcistxxvpresenting ideas in
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Question PosedOften, when we pose o
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Question Posed 3Books on the histor
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Question Posed 5rency? Panofsky tur
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Question Posed 7It should be clear
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Question Posed 9eration of the book
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Image not availableFra Angelico, Th
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14 Confronting Imagesas the most po
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16 Confronting Imagesthe simple, no
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18 Confronting Imagesand paradoxica
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20 Confronting Imageslost usage of
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22 Confronting ImagesThe men of the
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24 Confronting Imagester, which pos
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26 Confronting Imagesdelivered. The
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28 Confronting Imageseven of the vi
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30 Confronting Imagesintegrate them
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32 Confronting Images‘‘masters
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34 Confronting Imagestwo texts reve
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36 Confronting Imagesporary categor
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38 Confronting Images‘‘plants
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40 Confronting ImagesGoya, Manet, a
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42 Confronting Imagesically from th
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44 Confronting Imagesauto-teleology
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46 Confronting Imagesway perfect [e
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48 Confronting Imagesbeing-there [d
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50 Confronting Imagesart historians
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52 Confronting Imageshe remains on
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54 Confronting Imagesafter its dawn
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56 Confronting Imagesing its reader
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58 Confronting Images‘‘Most hum
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60 Confronting Imagescounting le op
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62 Confronting Imagesagain into the
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Image not availableFIG 3. Giorgio V
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66 Confronting Imagesthat our ambig
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68 Confronting Images‘‘prevent
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70 Confronting Imagesimagines here
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72 Confronting Imagesknowledge, a c
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74 Confronting Imagesprincipalmente
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76 Confronting ImagesIdea, f. Perfe
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78 Confronting Imagesarti del diseg
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80 Confronting Imagesing compromise
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82 Confronting Imageswake of the Li
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84 Confronting Imagesof all cogniti
Page 113 and 114: 86 Confronting Imagesby a new angel
Page 115 and 116: 88 Confronting Imagesplicit content
Page 117 and 118: 90 Confronting ImagesWinckelmann’
Page 119 and 120: 92 Confronting Imagesin a single sm
Page 121 and 122: 94 Confronting ImagesKantian tone,
Page 123 and 124: 96 Confronting Imagesated, the most
Page 125 and 126: 98 Confronting Imagesoverstepped th
Page 127 and 128: 100 Confronting Imagessentational e
Page 129 and 130: 102 Confronting Imagesabove the exp
Page 131 and 132: 104 Confronting Imagesorigin, certa
Page 133 and 134: 106 Confronting Imagesthroughout hi
Page 135 and 136: 108 Confronting Imagestions, these
Page 137 and 138: 110 Confronting Imagesulty of repre
Page 139 and 140: 112 Confronting Imagescome, in the
Page 141 and 142: 114 Confronting Imagesrial’’ of
Page 143 and 144: 116 Confronting Imagessatanocracy a
Page 145 and 146: 118 Confronting Imagesately closing
Page 147 and 148: 120 Confronting Imagesance that it
Page 149 and 150: 122 Confronting ImagesSo it is inde
Page 151 and 152: 124 Confronting ImagesSo a second g
Page 153 and 154: 126 Confronting Imagessay, correspo
Page 155 and 156: 128 Confronting ImagesThe Philosoph
Page 157 and 158: 130 Confronting ImagesThat the symb
Page 159 and 160: 132 Confronting Imagesdefinition of
Page 161 and 162: 134 Confronting Imagesdown to nothi
Page 163: 136 Confronting Imagesimages by mak
Page 167 and 168: 140 Confronting Imagesmented—a to
Page 169 and 170: 142 Confronting Imagesour private b
Page 171 and 172: 144 Confronting Imagesof replacing
Page 173 and 174: 146 Confronting Imagesvisual model
Page 175 and 176: 148 Confronting Imagesrelations wil
Page 177 and 178: 150 Confronting Imagesis in questio
Page 179 and 180: 152 Confronting Imagesment (Verschi
Page 181 and 182: 154 Confronting Imagesthe rend open
Page 183 and 184: 156 Confronting Imagesand amenable
Page 185 and 186: 158 Confronting Imagessis or as tot
Page 187 and 188: 160 Confronting Imagesthem. 47 When
Page 189 and 190: 162 Confronting Imagesthemselves fr
Page 191 and 192: 164 Confronting Imagesphenomena und
Page 193 and 194: 166 Confronting Imagesclosure [unge
Page 195 and 196: 168 Confronting Imageslifting his h
Page 197 and 198: 170 Confronting Imagesin their beli
Page 199 and 200: 172 Confronting Imagesof its own sy
Page 201 and 202: 174 Confronting Imagessingularly co
Page 203 and 204: Image not availableAlbrecht Dürer,
Page 205 and 206: 178 Confronting Imagesthe ‘‘asc
Page 207 and 208: 180 Confronting Imagesits part, con
Page 209 and 210: 182 Confronting Imagesasked himself
Page 211 and 212: 184 Confronting Imagesto-be reposed
Page 213 and 214: 186 Confronting Imagession, but the
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188 Confronting Imageshand were ima
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190 Confronting Imageschiasma and o
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192 Confronting Imagessessed by it
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194 Confronting Imagesthe individua
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196 Confronting ImagesImage not ava
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198 Confronting Imagesunderscores i
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200 Confronting Imageseverything, h
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Image not availableFIG 9. Fra Angel
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Image not availableFIG 10 Anonymous
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Image not availableFIG 11 Anonymous
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208 Confronting Imagesrepresentatio
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210 Confronting Imageseverything, I
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212 Confronting Imagesoffensive. 14
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214 Confronting Imagesself ). 152 .
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216 Confronting ImagesSo painting e
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218 Confronting Imagesbelieve it—
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220 Confronting Imagesitself precis
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222 Confronting Imagesaffirm life.
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224 Confronting Imagesthe ‘‘gre
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226 Confronting ImagesImage not ava
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228 Confronting ImagesNow this heav
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230 Appendix: Detail and PanIn comm
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232 Appendix: Detail and Panits thi
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234 Appendix: Detail and Pana rent
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236 Appendix: Detail and Paning giv
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238 Appendix: Detail and Pancovered
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240 Appendix: Detail and Panthe dis
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242 Appendix: Detail and Panto func
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244 Appendix: Detail and Pantulates
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246 Appendix: Detail and Panreadily
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248 Appendix: Detail and PanFor som
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250 Appendix: Detail and PanIt is T
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252 Appendix: Detail and PanImage n
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254 Appendix: Detail and Panstupefy
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256 Appendix: Detail and PanIt is,
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Image not availableJan Vermeer, Gir
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260 Appendix: Detail and Panitself
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262 Appendix: Detail and Panpaintin
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264 Appendix: Detail and Panto prop
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266 Appendix: Detail and Panstance
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268 Appendix: Detail and Pantension
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270 Appendix: Detail and Panthe ima
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NOTESAbbreviations of Frequently Ci
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Notes 27512. Aby Warburg, Der Bilde
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Notes 277phie chrétienne d’Occid
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Notes 27929. See the remarkable art
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Notes 281of Art as a Humanistic Dis
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Notes 28328. In his frescoes in the
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Notes 28552. Erwin Panofsky, Idea:
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Notes 2873. See Erwin Panofsky, Ear
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Notes 289ControllingObject of Act o
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Notes 291be grasped by an interpret
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Notes 293logical interpretation’
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Notes 295127. Ibid., 76-77.128. Ibi
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Notes 29716. Ibid., 312 [translatio
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Notes 29958. Panofsky, ‘‘Das Pr
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Notes 301symptom and are reconciled
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Notes 303disciples set our for Gali
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Notes 305manuscript of which dates
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Notes 307Pagan Antiquity: Contribut
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Notes 30931. Ibid., 156-58.32. Paul
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