Sample Chapters Subjects When the French edition of Confronting Images appeared in , 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. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language. The indispensable find and the unthinkable loss. Where history and art come to impede the history of art First platitude: art is over. Metaphysical trap and positivist trap Second platitude: everything is visible.
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The indispensable find and the unthinkable loss. Where history and art come to impede the history of art First platitude: art is over. Metaphysical trap and positivist trap Second platitude: everything is visible. The history of art as second religion, devoted to the immortality of ideal men Metaphysical ends and courtly ends.
Where the crack is closed in the ideal and realism: a magic writing-pad operation The first three magic words: rinascita, imitazione, idea The fourth magic word: disegno. Where art legitimates itself as unified object, noble practice, and intellectual knowledge. The metaphysics of Federico Zuccari. Where the history of art creates art in its own image 3. Simple reason, or how discourse invents its object Metamorphoses of the Vasarian thesis, emergences from the moment of antithesis: the Kantian tone adopted by the history of art Where Erwin Panofsky develops the moment of antithesis and critique.
How the visible takes on meaning. Interpretive violence From antithesis to synthesis. Kantian ends, metaphysical ends. Synthesis as magical operation First magic word: humanism. Where object of knowledge becomes form of knowledge. Vasari as Kantian and Kant as humanist. Powers of consciousness and return to the ideal man Second magic word: iconology. Return to Cesare Ripa. Visible, legible, invisible. The notion of iconological content as transcendental synthesis.
Third magic word: symbolic form. Where the sensible sign is absorbed by the intelligible. The pertinence of function, the idealism of "functional unity" From image to concept and from concept to image.
Fourth magic word: schematism. The final unity of synthesis in representation. The image monogrammed, cut short, made "pure. The Image as Rend and the Death of God Incarnate First approximation to renounce the schematism of the history of art: the rend. To open the image, to open logic Where the dream-work smashes the box of representation.
Work is not function. The power of the negative. Where resemblance works, plays, inverts, and dissembles. Where figuring equals disfiguring Extent and limits of the dream paradigm. Seeing and looking. Where dream and symptom decenter the subject of knowledge Second approximation to renounce the idealism of the history of art: the symptom. Panofsky the metapsychologist?
On questioning the denial of the symptom. There is no Panofskian unconscious The Panofskian model of deduction faced with the Freudian paradigm of over-determination. The example of melancholy.
Symbol and symptom. Constructed share, cursed share Third approximation to renounce the iconographism of the history of art and the tyranny of imitation: the Incarnation. Flesh and body. The double economy: mimetic fabric and "upholstery buttons.
Some examples. Dissemblance and unction. Where figuring equals modifying figures equals disfiguring Fourth approximation to renounce the humanism of the history of art: death.
Resemblance as drama. Two medieval treatises facing Vasari: the rent subject facing the man of humanism. The history of art is a history of imbroglios Resemblance to life, resemblance to death. The economy of death in Christianity: the ruse and the risk. Where death insists in the image. And us, before the image? Appendix: The Detail and the Pan The aporia of the detail To paint or to depict The accident: material radiance The symptom: slippage of meaning Beyond the detail principle.
The indispensable find and the unthinkable loss. Where history and art come to impede the history of art First platitude: art is over. Metaphysical trap and positivist trap Second platitude: everything is visible. The history of art as second religion, devoted to the immortality of ideal men Metaphysical ends and courtly ends. Where the crack is closed in the ideal and realism: a magic writing-pad operation The first three magic words: rinascita, imitazione, idea The fourth magic word: disegno.
Images in Spite of All
Kigakree Where object of knowledge becomes form of knowledge. If there is nothing between the angel and the Virgin in his Annunciation, that is because the nothing bore witness to the indescribable and unfigurable divine voice to which Angelico, like the Virgin, was obliged to submit completely. However, the French phrase etre averti can be understood in two ways. Strictly speaking, then, the elite is not being resurrected. From antithe- sis to synthesis.
Confronting Images: Questioning the Ends of a Certain History of Art
Nikojar It is understandable, in these conditions, that an academic discipline anxious to constitute itself as knowledge, and not as normative judg- ment, should have hubermah to the Kantism of pure reason rather than to that of the faculty of aesthetic taste. It is clearly seen that the ravening maw of time [tempo] has not only diminished by a great amount their own works and the honorable testimonies of others, but has also blotted out and destroyed the names [ha. Early Modern Art and Architecture. History of Art, Practice 37 discipline? I imagine that this might confroning for a Dominican trained, over a period of years, to draw out of the slightest exegetical relationship a veritable deployment of this mystery to which he dedicated his entire life. Where object of knowledge becomes form of knowledge.