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GEORGES DIDI-HUBERMANIMAGESImage not availableTranslated fromthe French by John GoodmanThe Pennsylvania State University PressUniversity Park, Pennsylvania
LIBRARY OF CONGRESSCATALOGING-IN-PUBLICATION DATAEnglish translation Copyright 2005The Pennsylvania State UniversityThe French edition on which thistranslation is based is Devant l’image:Question posée aux fin d’une histoire de l’art.Copyright 1990 Les Editions de Minuit.All rights reservedPrinted in the United States of AmericaPublished byThe Pennsylvania State University Press,University Park, PA 16802-1003The Pennsylvania State University Pressis a member of the Association of AmericanUniversity Presses.It is the policy ofThe Pennsylvania State University Pressto use acid-free paper. This book is printed onNatures Natural, containing 50% post-consumerwaste and meets the minimum requirements ofAmerican National Standard for InformationSciences—Permanence of Paper for PrintedLibrary Materials, ANSI Z39.48–1992.Disclaimer:Some images in the original version of this book are notavailable for inclusion in the eBook.
Page 3: CONFRONTINGQUESTIONING THE ENDS OF
Page 8 and 9: CONTENTSList of Illustrations xiTra
Page 10: works, plays, inverts, and dissembl
Page 13 and 14: xiiList of Illustrations14. Jan Ver
Page 16 and 17: PREFACE TO THE ENGLISH EDITION:THE
Page 18 and 19: The Exorcistxviipositive or ‘‘o
Page 20 and 21: The Exorcistxixwhich takes up the e
Page 22 and 23: The ExorcistxxiWarburg was a man wh
Page 24 and 25: The Exorcistxxiiihand, the aestheti
Page 26 and 27: The Exorcistxxvpresenting ideas in
Page 28 and 29: Question PosedOften, when we pose o
Page 30 and 31: Question Posed 3Books on the histor
Page 32 and 33: Question Posed 5rency? Panofsky tur
Page 34 and 35: Question Posed 7It should be clear
Page 36: Question Posed 9eration of the book
Page 39 and 40: Image not availableFra Angelico, Th
Page 41 and 42: 14 Confronting Imagesas the most po
Page 43 and 44: 16 Confronting Imagesthe simple, no
Page 45 and 46: 18 Confronting Imagesand paradoxica
Page 47 and 48: 20 Confronting Imageslost usage of
Page 49 and 50: 22 Confronting ImagesThe men of the
Page 51 and 52: 24 Confronting Imagester, which pos
Page 53 and 54: 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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174 Confronting Imagessingularly co
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Image not availableAlbrecht Dürer,
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178 Confronting Imagesthe ‘‘asc
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180 Confronting Imagesits part, con
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182 Confronting Imagesasked himself
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184 Confronting Imagesto-be reposed
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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
Page 229 and 230:
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
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
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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
Page 257 and 258:
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
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
Page 271 and 272:
244 Appendix: Detail and Pantulates
Page 273 and 274:
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
Page 279 and 280:
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
Page 293 and 294:
266 Appendix: Detail and Panstance
Page 295 and 296:
268 Appendix: Detail and Pantension
Page 297 and 298:
270 Appendix: Detail and Panthe ima
Page 300 and 301:
NOTESAbbreviations of Frequently Ci
Page 302 and 303:
Notes 27512. Aby Warburg, Der Bilde
Page 304 and 305:
Notes 277phie chrétienne d’Occid
Page 306 and 307:
Notes 27929. See the remarkable art
Page 308 and 309:
Notes 281of Art as a Humanistic Dis
Page 310 and 311:
Notes 28328. In his frescoes in the
Page 312 and 313:
Notes 28552. Erwin Panofsky, Idea:
Page 314 and 315:
Notes 2873. See Erwin Panofsky, Ear
Page 316 and 317:
Notes 289ControllingObject of Act o
Page 318 and 319:
Notes 291be grasped by an interpret
Page 320 and 321:
Notes 293logical interpretation’
Page 322 and 323:
Notes 295127. Ibid., 76-77.128. Ibi
Page 324 and 325:
Notes 29716. Ibid., 312 [translatio
Page 326 and 327:
Notes 29958. Panofsky, ‘‘Das Pr
Page 328 and 329:
Notes 301symptom and are reconciled
Page 330 and 331:
Notes 303disciples set our for Gali
Page 332 and 333:
Notes 305manuscript of which dates
Page 334 and 335:
Notes 307Pagan Antiquity: Contribut
Page 336 and 337:
Notes 30931. Ibid., 156-58.32. Paul
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