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In the logic of this picture-which represents the logic of oil painting in whole-paintings are, before all else, objects to be owned.
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This tradition set the norms that continue to define pictorial representation, privileging a certain sort of formal verisimilitude that continues to inform our understanding of "artistic genius."īerger begins the chapter by posing the question: "What is a love of art?" Within this tradition of oil painting, "love of art" comes to stand in for "desire to possess." This is illustrated with a painting of an art collector, depicted amongst his vast collection of paintings. Although the literal act of oil painting has existed for centuries-pigments have been mixed with oil to create paint since the ancient world-the tradition that Berger refers to here is characterized by its emergence at around the time that capitalism began to take hold in Europe. In this tradition, the emphasis is often on objects that are buyable, suggesting a relationship between oil painting and the desire to possess.
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Women are represented differently to Men and these representations and are suited to the man’s needs.Chapter 5 focuses on a specific tradition of oil painting, which reached its fullest embodiment roughly between 15. John Berger also explains how women are viewed not just in everyday life but in paintings as well. This message is constantly seen in the media with magazines articles and television adverts. They almost crave for attention from men. Women also feel the needs to look their best in order to get attention from men. Women are often reduced to sexual objects and instruments to pleasure men. This chapter basically explains the presence of women and men in our society. The audience’s relationship with the painting is limited because he can only observe the painting and would therefore realise that she is not naked for him. It is often seen in these paintings that the women is not interested in her surroundings or her partner in the painting, her main focus is engaging the spectator. Nude paintings of women are there to satisfy the audience (Man). He also describes nudity as a form of a dress. This could interpret that we are all used to seeing each other with clothes on and without it, we are alien to others. ‘To be naked is to be oneself,’ John Berger describes nudity as a disguise. John Berger differentiates the conventions and what a nude piece signifies. We reach so many conclusions when we are faced with a piece of art. The meaning that we acquire from a piece of art is always different to what the artist intended. This changes later through the years where their shame is viewed more as confidence in an advertisement. He first looks at a picture of Adam and Eve during the renaissance and describes how their shame is portrayed by the couple by their stance. John Berger looks at the way in which nude European oil paintings are portrayed. I also think this gives them a certain sense of power and control because they determine where a relationship goes. Women are constantly obsessed with their image in order to be appreciated by a man. I think that this statement has some truth to it. ‘Men survey women before treating them.’ He explains that women know that they are being watched and consequently watch themselves and their behaviour in the presence of men. They appearance of a women could determine how she is treated by a man. But the pretence is always towards a power which he exercises on others.’ He says the women are born into a world where they are constantly judged by their image. ‘A Man’s presence may be fabricated, in the sense that he pretends to be capable of what he is not.
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A women’s presence is judged by her voice, what she wears, her gestures, expressions and opinions. John Berger tries to explain the social presence of a woman and how different it is to that of a man.