Didi-Huberman and the Image

210 Pages·15.208 MB·English

by  Chari Larsson

Didi- Huberman and

the image

Didi- Huberman and

the image
Chari Larsson
Manchester University Press
Copyright © Chari Larsson 2020
The right of Chari Larsson to be identified as the author of this work
has been asserted by her in accordance with the Copyright, Designs and
Patents Act 1988.
Published by Manchester University Press
Altrincham Street, Manchester M1 7JA
www.manchesteruniversitypress.co.uk
British Library Cataloguing- in- Publication Data
A catalogue record for this book is available from the British Library
ISBN 978 1 5261 4926 8 hardback
First published 2020
The publisher has no responsibility for the persistence or accuracy of
URLs for any external or third- party internet websites referred to in this
book, and does not guarantee that any content on such websites is, or will
remain, accurate or appropriate.
Cover design: Daniel Benneworth-Gray
Typeset by Newgen Publishing UK
Contents

List of figures page vii
Acknowledgements xi
Introduction 1
1 The archaeological art historian 24
2 The materiality of images 48
3 Timely anachronisms 69
4 The empreinte 98
5 Making monsters 121
6 Thinking images 142
Conclusion 162
Bibliography 174
Index 189

Figures

1 Aby Warburg, Bilderatlas Mnemosyne at the reading room
of the Kulturwissenschaftliche Bibliothek Warburg.
Photograph, 1927. Germany. © Warburg Institute,
London page 11
2 Fra Angelico, Annunciation with Saint Peter Martyr, c.
1440– 44. Fresco. Florence, Museo di San Marco. © Photo
Scala, Florence – courtesy of the Ministero Beni e Att.
Culturali e del Turismo 15
3 Jan Vermeer, View of Delft from the Rotterdam Canal,
1658– 60. Oil on canvas. The Hague, Mauritshuis.
© Photo Scala, Florence 50
4 Jan Vermeer, View of Delft from the Rotterdam Canal
(detail), 1658– 60. Oil on canvas. The Hague, Mauritshuis.
© Photo Scala, Florence 50
5 Jan Vermeer, The Lacemaker, c. 1669– 70. Oil on canvas,
24 cm × 21 cm. Paris, musée du Louvre. © Photo Scala,
Florence 52
6 Jan Vermeer, The Lacemaker (detail), c. 1669– 70. Oil
on canvas, 24 cm × 21 cm. Paris, musée du Louvre.
© Photo Scala, Florence 53
7 Fra Angelico, fake marble panels below the Madonna
delle Ombre (Madonna of the Shadows), c. 1450. Florence,
Museo di San Marco. © Photo Scala, Florence 58
8 Fra Angelico, Madonna delle Ombre (Madonna of the
Shadows). Fresco. Florence, Museo di San Marco.
© Photo Scala, Florence – courtesy of the Ministero
Beni e Att. Culturali e del Turismo 58
9 Albrecht Dürer, Death of Orpheus, 1494. Drawing,
289 × 225 mm. Hamburg, Kunsthalle. Photo © Warburg
Institute, London. Reproduced under a creative
commons licence 85
viii Figures
10 Anonymous, Northern Italian, Death of Orpheus, c. 1470– 80.
Engraving, 145 cm × 214 cm, Hamburg, Kunsthalle.
© Warburg Institute, London. Reproduced under a
creative commons licence 86
11 Anonymous, Venice, Death of Orpheus, 1497.
Woodcut from Ovid, Metamorphoses. © Warburg Institute,
London. Reproduced under a creative commons licence 86
12 Anonymous, Death of Orpheus, detail of vase from Nola,
c. 475– 50 BC. 31.5 cm. Paris, musée du Louvre.
© Warburg Institute, London. Reproduced under
a creative commons licence 87
13 Anonymous (member of the Sonderkommando of
Auschwitz), Cremation of Gassed Bodies in Open- Air
Incineration Pits, in Front of the Gas Chamber of
Crematorium V in Auschwitz, August 1944. The State
Museum Auschwitz- Birkenau in Oświęcim
(negative no. 281) 122
14 Anonymous (member of the Sonderkommando of
Auschwitz), Cremation of Gassed Bodies in Open- Air
Incineration Pits, in Front of the Gas Chamber of
Crematorium V in Auschwitz, August 1944. The State
Museum Auschwitz- Birkenau in Oświęcim
(negative no. 280) 123
15 Anonymous (member of the Sonderkommando of
Auschwitz), Women Pushed towards the Gas Chamber of
Crematorium V in Auschwitz, August 1944. The State
Museum Auschwitz- Birkenau in Oświęcim
(negative no. 282) 124
16 Anonymous (member of the Sonderkommando of
Auschwitz), August 1944. The State Museum Auschwitz-
Birkenau in Oświęcim (negative no. 283) 125
17 László Nemes, Son of Saul, 2015 132
18 László Nemes, Son of Saul, 2015 133
19 Aby Warburg, Bilderatlas Mnemosyne (1927– 29),
plate 79. Photograph. London, Warburg Institute
Archive. Photo: Warburg Institute 156
20 Jean- Luc Godard, Histoire(s) du cinéma, 1988– 98,
episode 1B, ‘Une histoire seule’ 163