Confronting Images: Questioning the Ends of a Certain History of Art

Georges Didi-Huberman

ISBN 10: 0271024720 / ISBN 13: 9780271024721

Published by Pennsylvania State University Press, 2009

About this Item

Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. Num Pages: 336 pages, 18 illustrations. BIC Classification: ABA; ACB. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 215 x 138 x 24. Weight in Grams: 448. . 2009. 1st Edition. Paperback. . . . . Books ship from the US and Ireland.

Seller Inventory # V9780271024721

Bibliographic Details

• Title: Confronting Images: Questioning the Ends of a Certain History of Art
• Publisher: Pennsylvania State University Press
• Publication Date: 2009
• Language: English
• ISBN 10: 0271024720
• ISBN 13: 9780271024721
• Binding: Soft cover
• Condition: New

About this title

Synopsis

When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.”

To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s Lacemaker.

About the Author

Georges Didi-Huberman is on the faculty of the École des hautes études en sciences sociales in Paris. His books include Fra Angelico: Dissemblance and Figuration (1995), Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtriére (2003), and The Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg's History of Art (forthcoming from Penn State Press).