Georges Didi-Huberman is critical of conventional approaches to the study of art history. Didi-Huberman believes that the history of art is based on the primacy of knowledge, particularly in Kant's vein, or on what he calls a "spontaneous philosophy". While art historians claim to observe images over time, what they actually do could be described as a kind of forensic process, in which they analyze, decode, and deconstruct works of art in an attempt to better understand the artist and purpose. or expression. This article will examine Didi-Huberman's major claims in her book Confronting Images and apply her methodology to a still life painting by Juan Sánchez Cotán. In Confronting Images, Didi-Huberman considers the disadvantages she sees in the academic approach to art history and offers an alternative method for engaging art. His approach focuses on what is 'visual' long before arriving at definitive knowledge. Drawing support from the field of psychoanalysis (Lacan, Freud, Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what she might describe as an instance of receptivity, as opposed to a linear, step-by-step process . analytical process. He emphasizes the perceptual mode of engaging the images of a painting or other work of art, which according to him comes before any "knowledge", thought or rational discernment. In other words, Didi-Huberman believes that the mind "sees" well before realizing and processing the object looked at, much less before understanding it. Well before the observer can draw useful insights by scrutinizing and decoding what he sees, he is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is... at the center of the card... over time – and the viewer's personal experience, essentially his story. This comes very close to the common sense perspective: what we look at and what we think about what we see has a lot to do with who we are and what we have experienced in life. Therefore, art can be described as an interaction between the viewer, influenced by his experiences, with the work of art, including its history and the stories built around it over time. When we look at art, we must recognize that the image is temporally stretched – there is more to it than meets the eye at the moment. What we learn from the Didi-Huberman approach is to give this temporal “tension” its due. Didi-Huberman describes and defends the importance of the way we look at artistic works: images that represent something specific, while always remaining open to the presentation of something new and different.