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CONFRONTINGQUESTIONING THE ENDS OF A CERTAIN HISTORY OF ARTImage not available
Page 4 and 5: GEORGES DIDI-HUBERMANIMAGESImage no
Page 6: It is the curse and the blessing of
Page 9 and 10: eligion, devoted to the immortality
Page 12 and 13: LIST OF ILLUSTRATIONS1. Fra Angelic
Page 14: TRANSLATOR’SNOTEThis book poses s
Page 17 and 18: xviPreface to the English EditionSa
Page 19 and 20: xviiiPreface to the English Edition
Page 21 and 22: xxPreface to the English Editionpor
Page 23 and 24: xxiiPreface to the English Editionc
Page 25 and 26: xxivPreface to the English Editiona
Page 27 and 28: xxviPreface to the English EditionT
Page 29 and 30: 2 Confronting Imageswestern Christi
Page 31 and 32: 4 Confronting Imagesknowledge impos
Page 33 and 34: 6 Confronting Imagesthe art histori
Page 35 and 36: 8 Confronting Imagesby Freud to des
Page 38 and 39: 1The History of Art Within the Limi
Page 40 and 41: History of Art, Practice 13familiar
Page 42 and 43: History of Art, Practice 15painted
Page 44 and 45: History of Art, Practice 17present
Page 46 and 47: History of Art, Practice 19whence i
Page 48 and 49: History of Art, Practice 21bertus M
Page 50 and 51: History of Art, Practice 23its imme
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History of Art, Practice 25the eyes
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History of Art, Practice 27an icono
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History of Art, Practice 29art unti
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History of Art, Practice 31ing, too
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History of Art, Practice 33‘‘Le
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History of Art, Practice 35a specif
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History of Art, Practice 37discipli
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History of Art, Practice 39and scre
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History of Art, Practice 41soon rea
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History of Art, Practice 43to say a
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History of Art, Practice 45so to sp
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History of Art, Practice 47of the p
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History of Art, Practice 49is an ex
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History of Art, Practice 51Just as
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2Art as Rebirth and the Immortality
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Art as Rebirth 55of Julius von Schl
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Image not availableFIG 2 Giorgio Va
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Art as Rebirth 59egno, which covers
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Art as Rebirth 61defend them as muc
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Art as Rebirth 63artists from their
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Image not availableFIG 4 Giorgio Va
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Art as Rebirth 67deviations establi
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Art as Rebirth 69inconsistencies,
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Art as Rebirth 71second edition of
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Art as Rebirth 73who are ever wrest
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Art as Rebirth 75masters. Even if c
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Art as Rebirth 77force and solemnit
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Art as Rebirth 79the hand, through
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Art as Rebirth 81this training, wou
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Art as Rebirth 83in view of consoli
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3The History of Art Within the Limi
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History of Art, Reason 87doesn’t
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History of Art, Reason 89a bit by s
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History of Art, Reason 91The Kantia
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History of Art, Reason 93this histo
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History of Art, Reason 95It implies
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History of Art, Reason 97want to in
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History of Art, Reason 99is almost
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History of Art, Reason 101each ‘
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History of Art, Reason 1031932 arti
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History of Art, Reason 105if for th
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History of Art, Reason 107figured,
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History of Art, Reason 109ical end
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History of Art, Reason 111ception i
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History of Art, Reason 113conjuncti
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History of Art, Reason 115‘naive
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History of Art, Reason 117metaphysi
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History of Art, Reason 119explicate
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History of Art, Reason 121its cente
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History of Art, Reason 123the meani
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History of Art, Reason 125But in an
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History of Art, Reason 127Cassirer
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History of Art, Reason 129the ancie
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History of Art, Reason 131meaning
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History of Art, Reason 133There is
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History of Art, Reason 135that woul
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History of Art, Reason 137of singul
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4The Image as Rend and the Death of
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Image as Rend 141Let’s also remem
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Image as Rend 143that, so to speak,
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Image as Rend 145liberate, from the
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Image as Rend 147aiming at ‘‘le
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Image as Rend 149quences anticipate
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Image as Rend 151comparing, hence o
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Image as Rend 153a homology of repr
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Image as Rend 155he insists on the
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Image as Rend 157ality and an absol
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Image as Rend 159limits. What is a
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Image as Rend 161knowledge that we
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Image as Rend 163interpretation was
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Image as Rend 165astrology may have
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Image as Rend 167ing another man ca
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Image as Rend 169aims at a general
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Image as Rend 171it will be remembe
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Image as Rend 173ing interpretation
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Image as Rend 175Such, then, was Pa
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Image as Rend 177at a contracting f
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Image as Rend 179As to knowing how
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Image as Rend 181is at all an intel
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Image as Rend 183We will not, then,
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Image as Rend 185already indicates
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Image as Rend 187is the Lacanian me
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Image as Rend 189that generally pre
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Image as Rend 191during the sack of
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Image as Rend 193Image not availabl
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Image as Rend 195by the kind of win
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Image as Rend 197Image not availabl
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Image as Rend 199the very altar whe
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Image as Rend 201a meter and a half
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Image as Rend 203conversely, it res
Page 232 and 233:
Image as Rend 205ern liturgy of the
Page 234 and 235:
Image as Rend 207of the open flesh,
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Image as Rend 209act is, once again
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Image as Rend 211either recognizabl
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Image as Rend 213nini’s book is w
Page 242 and 243:
Image as Rend 215[rinvenne di sua s
Page 244 and 245:
Image as Rend 217ing ‘‘glory on
Page 246 and 247:
Image as Rend 219referential catego
Page 248 and 249:
Image as Rend 221arts whose ‘‘g
Page 250 and 251:
Image as Rend 223were made, which w
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Image as Rend 225age-old technique
Page 254 and 255:
Image as Rend 227Death as their bra
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APPENDIX: THE DETAIL AND THE PANThe
Page 258 and 259:
The Detail and the Pan 231say, ‘
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The Detail and the Pan 233on the gi
Page 262 and 263:
The Detail and the Pan 235history,
Page 264 and 265:
The Detail and the Pan 237Painting
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The Detail and the Pan 239Image not
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The Detail and the Pan 241to wester
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The Detail and the Pan 243us that e
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The Detail and the Pan 245and to th
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The Detail and the Pan 247Image not
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Image not availableFIG 15Jan Vermee
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The Detail and the Pan 251anything
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Image not availableFIG 17Louvre.Jan
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The Detail and the Pan 255half a mi
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The Detail and the Pan 257Museum) p
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The Detail and the Pan 259no one, o
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The Detail and the Pan 261is the fi
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The Detail and the Pan 263for the w
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The Detail and the Pan 265the scene
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The Detail and the Pan 267also the
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The Detail and the Pan 269man with
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The Detail and the Pan 271everythin
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274 NotesAuthor’s Preface: The Ex
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276 Notesl’art (Strasbourg: C.E.R
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278 Notesnaissance approchéé (Par
Page 307 and 308:
280 Notestheoretical terms paradigm
Page 309 and 310:
282 Notes(New York: Cambridge Unive
Page 311 and 312:
284 Notesto be directly related to
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286 Notessat, ‘‘Disegno e inven
Page 315 and 316:
288 Notesthe mainstream of contempo
Page 317 and 318:
290 Notes(Philadelphia: University
Page 319 and 320:
292 Notes71. This regarding a famou
Page 321 and 322:
294 Notesfrom Ripa’s manual much
Page 323 and 324:
296 Notes156. Ibid., 80-88. See als
Page 325 and 326:
298 Noteswith his conclusions, and
Page 327 and 328:
300 Notes74. This is the title of a
Page 329 and 330:
302 Notes110. In the same sentence,
Page 331 and 332:
304 Notestypical image of the Mandy
Page 333 and 334:
306 Notes161. Theophilus, Essai sur
Page 335 and 336:
308 Notesreproduces itself.’’ O
Page 337:
310 Notes55. Sigmund Freud, ‘‘H
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