<p>“A painstakingly detailed examination of Warburg’s writing, showing its connection with works of Friedrich Nietzsche, Jakob Burckhardt, and other notable pioneers of a psychologically oriented analysis of culture. Didi-Huberman offers insightful readings and criticism of such scholars as Ernst Cassirer, Erwin Panofsky, and Ernst Gombrich, accused of trafficking in ‘canons, ideal entities and transcendental notions,’ not to mention a more general denunciation of unnamed practitioners of a ‘positivist’ art history.”</p><p>—W. Cahn <i>Choice</i></p>

<p>“For anyone interested in the intersections of art, material and visual culture, anthropology, and philosophy, <i>The Surviving Image </i>stands as essential reading, long overdue to any English-language reader familiar with Giorgio Agamben, Philippe-Alain Michaud, and Christopher Johnson’s writings on Warburg. Didi-Huberman’s book may itself feel ‘untimely’ in a risk-averse intellectual age; this fact only serves to recommend it, and Aby Warburg’s original work, all the more.”</p><p>—Richard Baxstrom <i>Visual Culture in Britain</i></p>

<p>“It is wonderful to have this book in English. Didi-Huberman's magnum opus is an impassioned, critical love letter to the discipline of art history, which he considers as ossified by ‘systematic and reassuring’ methodologies, ‘territorialized,’ and bound by institutional expectations, but since Warburg also potentially open to the numinous, unsystematic, undependable, inconstant moments in which representation and desire present themselves as art history. Of the many attempts to revive Warburg, this is the only one that takes the consequences of a full engagement seriously.”</p><p>—James Elkins, editor of The Stone Art Theory Institute Series</p>