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Moving beyond the role of the individual’s ability to see, Berger then highlights the role in the development of technologies and how they affect people’s. This represents the way that public perception has changed along with popular art. Reflection on John Berger’s Ways of Seeing, Chapter 1. Pages 38 and 39 seem to show the same subject matter, the female nude, in all different incarnations. I could be horribly wrong, but the photo-essay in section 2 seems to me to show the evolution of the art form over time. Another possible interpretation of this style of. Perhaps, by openly flouting academic conventions, he means to render these artworks more accessible. This image, more than any of the art depicted in this section, is the most beautiful to me. Here, Berger indulges a somewhat puzzling penchant for reproducing artwork, advertisements, and photography without citations, and without any written contextualization. give the image of what we see, forgetting everything that has appeared before our time." (p.31). The thing I enjoyed most and related most with in the first essay is the comment by Cezanne, "A minute in the world's life passes! To paint it in its reality, and forget everything for that! To become that minute, to be the sensitive plates. Invariably, the exhibits I want to see are closed, and the ones that I don't care about are open. There are some exhibits that I want to see. What I do not enjoy is the constant remodeling and renovating of most museums that I go to.
#John berger ways of seeing chapter 5 summary full
I don't feel that this is because the majority believes that museums are full of holy relics, or that they feel that original masterpieces should belong only to the rich and privileged. If we `saw' the art of the past, we would situate ourselves in history," …show more content… I will agree that the majority of the population do not visit art museums.
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The essay focuses on the European tradition of oil painting, which. Also, I feel that the idea of "when we `see' a landscape, we situate ourselves in it. Chapter 5 expands on Chapter 4 by explaining how oil paintings function in a market economy. While images are more precise, therefore, I believe that imagined images based on text are far richer. The beauty of un-illustrated literature is the ability to devise one's own images. The idea that images are more precise and richer than literature is probably true, although it is not a concept that I necessarily agree with. So rather than cause myself undue headache, I read it as myself, a person who has read a lot of literature but isn't so great on the art aspect of things. Subjects include iconic religious figures, dead bodies.The biggest difficulty I ended up having with this reading was being able to look at it philosophically.
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The chapter begins with religious reproductions of paintings by Cimabue in 1240, and continues the gamut of representative art and artists through the fifteenth, sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries, ending with Magritte in 1967. Paintings of the artists whose works are identified illustrate a virtual history of art. Many of them are also acknowledged for their owners' permission to reproduce. There are a total of thirty-six images, all of which are identified in the List of Works Reproduced. There are no words used to describe the images but many of them list the title, dates, and artist of the work along their left side border. On the right-hand side, we see three portraits of important-looking men, painted in the tradition of the portraits hanging on the wall on the opposite page. Chapter four is a sixteen-page chapter comprised of reproduced images whose originals are oil paintings, and one apparent photograph of the Knole Ball Room. The extremely ornate setting of this photograph also alludes to the connection between oil painting, wealth, and capitalism, which Berger will elaborate in Chapter 5.