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Image as Rend 225age-old technique of the imago, or mortuary effigy, transformed symbolicallyto serve the magic of a ‘‘vow’’ that connected the Florentinemerchant to the Great Manager of his death-to-come. 180 The admirablestatue of Niccolò da Uzzano would be in this connection at theplace of perfect equilibrium: it speaks to us of life because the headturns upward, as if animated by a desire, and through the paintedgaze with which Donatello so wonderfully endowed it. But its nature—beginningwith its mode of operation—continues to pay its tributeto the mortifying essence of the imago. We understand thiscompletely when looking at another statue, one nearby in the sameroom of the Museo di Bargello: it is the bust of a woman—long attributedto Donatello, moreover—that likewise pays death the tribute ofits too exact resemblance (Fig. 12). The subtle weakening of the tegumentsunder the weight of the drying plaster, the cadaverous rigidity,the closed eyes, all this obliges the affecting face henceforth to resembleonly its most exact, impersonal, and dramatic resemblance—itsresemblance to being dead. 181To the Vasari who dreamt of a resemblance conceived as gain, asart, as life, the images of the Florentine fifteenth century persisted inopposing a resemblance conceived as a gift offered to God, as suretyfor a supernatural contract and as sign of an impending death. Tooffer an ex-voto to the church of the Santissima Annunziata or tohave one’s portrait sculpted for placement opposite an imago pietatis inthe church of Santa Croce, this was doubtless to affirm something—asymbolic power—to the citizens of Florence, but it was also to depriveoneself of something, to make a sacrificial gift of one’s natural resemblancein view of another resemblance, that, supernatural, of ‘‘anotherlife’’ in the heavens—of death, in short. That’s why the ‘‘resembling’’images, the ‘‘accurate’’ or realist images of the Quattrocento do notalways have the optimism, even triumphalism that Vasari wanted toproject onto all of them. Although resembling, it also knows how toimpose upon us the disconcerting strangeness, the secret disfigurationof its mode of presentation. Through the light but insistent traces ofits contact with death, through the invasive visual index of its facedrowned in a bronze as black as a veil of mourning, the statue inthe Bargello, too, estranges itself. As must have seemed strange—even
226 Confronting ImagesImage not availableFIG 12 Anonymous (Florentine), Bust of a Woman, 15th century. Bronze.Florence, Museo Nazionale del Bargello. Photo: Giraudon.frightening to some—all these bòti too exact because too motionless,all fixed in their devout face-to-face with the miraculous image of theSantissima Annunziata . . . Such, perhaps, is the tip of truth* beforewhich all of these figurative symptoms place us despite ourselves: theimmobility of these images (their principal symptom of all,† we mightnote with some irony) obliges us to experience in them somethinglike a managing of death.*bout de vérité.†à toutes.
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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
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86 Confronting Imagesby a new angel
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88 Confronting Imagesplicit content
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90 Confronting ImagesWinckelmann’
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92 Confronting Imagesin a single sm
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94 Confronting ImagesKantian tone,
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96 Confronting Imagesated, the most
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98 Confronting Imagesoverstepped th
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100 Confronting Imagessentational e
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102 Confronting Imagesabove the exp
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104 Confronting Imagesorigin, certa
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106 Confronting Imagesthroughout hi
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108 Confronting Imagestions, these
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110 Confronting Imagesulty of repre
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112 Confronting Imagescome, in the
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114 Confronting Imagesrial’’ of
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116 Confronting Imagessatanocracy a
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118 Confronting Imagesately closing
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120 Confronting Imagesance that it
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122 Confronting ImagesSo it is inde
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124 Confronting ImagesSo a second g
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126 Confronting Imagessay, correspo
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128 Confronting ImagesThe Philosoph
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130 Confronting ImagesThat the symb
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132 Confronting Imagesdefinition of
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134 Confronting Imagesdown to nothi
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136 Confronting Imagesimages by mak
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138 Confronting Imagesrational disc
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140 Confronting Imagesmented—a to
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142 Confronting Imagesour private b
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144 Confronting Imagesof replacing
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146 Confronting Imagesvisual model
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148 Confronting Imagesrelations wil
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150 Confronting Imagesis in questio
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152 Confronting Imagesment (Verschi
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154 Confronting Imagesthe rend open
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156 Confronting Imagesand amenable
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158 Confronting Imagessis or as tot
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160 Confronting Imagesthem. 47 When
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162 Confronting Imagesthemselves fr
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164 Confronting Imagesphenomena und
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166 Confronting Imagesclosure [unge
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168 Confronting Imageslifting his h
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170 Confronting Imagesin their beli
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172 Confronting Imagesof its own sy
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Page 203 and 204: Image not availableAlbrecht Dürer,
Page 205 and 206: 178 Confronting Imagesthe ‘‘asc
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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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Page 219 and 220: 192 Confronting Imagessessed by it
Page 221 and 222: 194 Confronting Imagesthe individua
Page 223 and 224: 196 Confronting ImagesImage not ava
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Page 229 and 230: Image not availableFIG 9. Fra Angel
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Page 233 and 234: Image not availableFIG 11 Anonymous
Page 235 and 236: 208 Confronting Imagesrepresentatio
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Page 239 and 240: 212 Confronting Imagesoffensive. 14
Page 241 and 242: 214 Confronting Imagesself ). 152 .
Page 243 and 244: 216 Confronting ImagesSo painting e
Page 245 and 246: 218 Confronting Imagesbelieve it—
Page 247 and 248: 220 Confronting Imagesitself precis
Page 249 and 250: 222 Confronting Imagesaffirm life.
Page 251: 224 Confronting Imagesthe ‘‘gre
Page 255 and 256: 228 Confronting ImagesNow this heav
Page 257 and 258: 230 Appendix: Detail and PanIn comm
Page 259 and 260: 232 Appendix: Detail and Panits thi
Page 261 and 262: 234 Appendix: Detail and Pana rent
Page 263 and 264: 236 Appendix: Detail and Paning giv
Page 265 and 266: 238 Appendix: Detail and Pancovered
Page 267 and 268: 240 Appendix: Detail and Panthe dis
Page 269 and 270: 242 Appendix: Detail and Panto func
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Page 273 and 274: 246 Appendix: Detail and Panreadily
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Page 279 and 280: 252 Appendix: Detail and PanImage n
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Page 285 and 286: Image not availableJan Vermeer, Gir
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Page 289 and 290: 262 Appendix: Detail and Panpaintin
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Page 293 and 294: 266 Appendix: Detail and Panstance
Page 295 and 296: 268 Appendix: Detail and Pantension
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Page 300 and 301: 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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