Another way of phrasing this: all images are encoded with ideology, regardless of whether their creators consciously want them to be. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. However, this is certainly not to say that original works of art are useless or museums should be destroyed: to Berger, the value of an original work lies in its silence and stillness: hanging on the wall of a gallery, an original painting is never just pure information: it bears the trace of the artist who created it, however long ago, closing a gap between the past and present whenever we regard the artist's handiwork. Reproducing this art on cheaper materials can make a once beautiful piece ot art look extremely inexpensive and less meaningful. He continues by presenting the concept of how a picture may look the same to many different people that view it, it may carry a different message to each viewer. On the other hand, art is more widely viewed and loved because of being about to put pictures in books, postcards or posters. Complementary in the sense that I could rely on my technical knowledge ot art to understand the structure of a painting, and also analyze the story of the painting as Berger mentioned to fully understand the underlying message of an artwork.
We cannot simply look at a word and picture it, since it is simply a word. His language can be understood by different readers in drastically different ways, which makes his points hard to understand. Vision is reciprocal, and when we discuss what we see with others, we are attempting to vivify the way that we see the world or understand the way that someone else does. . Seen in the darkroom when making the print or seen in this book when reading it, the image conjures up the vivid presence of the unknown boy. Crucially, however, oil paintings were owned and seen by the ruling class for most of art history, whereas advertisements surround everyone today. Art was just one way to measure reality even though it rarely depicted actual reality.
He also claims that the audience has influenced the art; but instead, with photography and film making, art has come to change the perceptions of the audience. Berger describes the way people look at art now compared to how they did in the past due to the impact of reproductions. According to Berger, they manufacture glamour by making viewers envy the hypothetical future versions of themselves that will become reality if they choose to buy a product. It's important to note, however, that reproductions also distort the meaning of the original. The book blends words and pictures to illustrate an interrelated dynamic environment. Key Concepts Because of the camera and the fact that any original piece of work can be photographed, copied, and placed virtually anywhere in the world, paintings have lost something. He also took care to differentiate how our reaction to photographs of loved ones depends on our relationship to the person portrayed.
Because works of art are reproducible, they can easily be placed into new contexts, their meaning changing based on the text or other images that accompany them. It is also mentioned that men don't have this same image of themselves or constant reflection of themselves. The value of an oil painting is valued as such because it is depicting value. He then briefly detours into explaining the convention of perspective. Whenever one views the original, which hangs at the National Gallery, they will inevitably regard it differently than had it not been reproduced: they will see it as the original of a reproduction. The terms peak of breadth and strength signify that the characters are powerful, noble, and accomplished people, which Berger purports to be the result of them supplying him with the necessities he needs to live his life.
In obscuring these features, the art historian has mystified the past, downplaying the drama of Hals' story, explaining away the impressions that might otherwise be evident to the viewer. Berger starts of by noting that the cultural presence of the woman is still very different from that of the man. The spectator is just assumed to be a male and the woman is designed to flatter him. Perspective fell out of style with the advent of the camera, which made it evident that the passage of time is fundamental to our experience of the visual. Theoretically, this offers great revolutionary potential—but as Berger notes, artworks are most often reproduced in contexts that uphold existing hierarchies. Berger uses the three key rhetorical strategies; logos, ethos, and pathos to develop… In his first essay of Ways of Seeing, John Berger claims that all power, authority, and meaning that was once held by an original work of art has been lost through the mass reproduction of these works that has occurred in recent years.
He describes nakedness as simply the state of having no clothes on and nudity as a form Of artistic representation Berger 7. Berger, at the age of 90, has had a profound influence on the popular understanding of art and the visual image. Although learned a lot from my art classes, especially how to describe an artwork contextually, the observations and point of view of Berger about art gave me enough elements to have a complete analysis of an image, both contextually and historically. Images need narratives to make sense. Berger begins the chapter by observing how, both in images and in society at large, men and women are represented differently: men have agency, whereas women are mostly engaged in a constant project of monitoring their self-presentation rather than focusing on external tasks. Authenticity is paramount now because of the threat of reproduction. Berger commences with examples of Adam and Eve and how the art work got progressively more shaming towards woman; thus, changing the connotation and making woman seem submissive and men as dominant.
The child looks and recognizes before it can speak. In fact, the lines were not straight; they were round and suggesting bodies that we did not see in art before. Berger explained this as a way for the woman to offer herself to the man, giving him social power Berger E. His story relates to the relationship between a father and a son and uses many generations in his own family as examples. He explains how seeing affects the way we learn throughout our life and how we can interpret it in many different ways. The carvings exhibit the early Buddhist art style known as aniconism, in which the Buddha is only depicted through symbols.
The mirror is often used a symbol of self-vanity. Moreover, I realized that it was a question John Berger, critic of art and author of the Ways of Seeing, raised in his essay, and it is a question that will always be raised while demanding how to understand a certain art. A misunderstood talent in life. It also has the ability to change the entire meaning of a painting by placing it with certain texts or other paintings. Berger embarks on the explanation of the different views of art from the 1500. Even pictures, according to him, cannot be taken for face value because one must consider the intent of the photographer and other factors that may have skewed the message.
Things he absolutely wanted to paint before his dmtlm In this letter, Gauguin also confessed that the value of this painting is so much ahead of his precedents, and that it was a one of a kind that he could not nor would not try to produce a better painting. Walking through a room where various French artists had their paintings exposed, I fell in front of the… 1042 Words 5 Pages Berger, John. This artwork is very ambiguous because do not know how to start looking at it. By itself, writing cannot rebalance the inequities of the present or establish new ways of seeing. The common element indicated by the author is that the images do not address the present, always point to the future, and often use the past to do so. Berger uses European paintings to prove his argument. The subjects in oil painting and advertisements are just tools for the constant need to possess certain objects.
Ultimately, this alters the way we view the world and how images are going to be produced for the public eye. The painting is comprised of an apparent four-pane window with black background in each pane. Oil paintings were to appearances as money was to social relations the author points out. When this happens, the painting inevitably becomes part of the filmmaker's particular narrative. But because all images embody a certain way of seeing, images don't just index how their subjects once looked: they represent how their subjects once looked to the people who made the images. A word in the lower right quadrant does indeed state what the picture is. The concept of envy and glamour is introduced; these make people happy by having something others don.