유명 한 베르메르 의 그림 입니다 . The Art of painting ( De Schilderkonst ) c . 1666 - 1668 oil on canvas 120 X 100 cm Kunsthistorisches Museum , Vienna 이 그림 에서 주인공 이 누구 일까요 ? 모델 처럼 책 과 나팔 을 들 고 화가 를 향해 서 있 는 여인 ? 아니면 붓 을 들 고 그림 을 그리 고 있 는 화 가 ? ? 아니 면 크 게 드리운 커튼 ? ? 아니 면 정면 으로 보이 는 벽 에 걸린 그림 ? ? 주인공 이 화가 라면 왜 주인공 의 얼굴 을 보여 주 지 않 나 ? 뒷모습 만 보이 는 얼굴 없 는 주인공 도 있 냐 ? 우리 가 가장 잘 알 고 있 는 “ 모나리자 ” 눈빛 까지 선명 하 게 바라보 지 않 던가 ? 그러나 그림 에 조금 만 지식 이 있 다면 주인공 은 화가 임 을 이해 할 것 이 다 . 물론 The Art of painting 이 그림 제목 에서 도 그런 화가 의 의도 를 알 수 가 있 다 . 그림 에서 얼굴 이 보이 게 그렸 다면 그림 속 의 화가 가 누구 인지 를 바로 알아볼 수 있 었 을 것 이 다 . 그렇 다면 특정 한 화가 임 을 나타나 고자 이 그림 을 그린 베르메르 는 아니 었 다는 해석 이 든다 . 결국 화가 가 무엇 하 는 사람 인지 를 상징 으로서 해석 하 고 상상 하 도록 그림 속 에서 전달 하 려는 메시지 가 있 다는 것 을 나타난다고 말 할 수 있 다 . 예술 학도 에게 눈 필수 적 인 책 이 라고 여겨 지 는데 우리 나라 에 번역 이 되 어 있 는지 는 모르 겠 어요 . 이 책 말 입니다 . Berger , John ( 1972 ) . Ways of Seeing . London : British Broadcasting Corporation and Penguin Books . ISBN 0 - 14 - 021631 - 6 . 문고판 으로 나와 있 으니 일반인 에게 도 익숙 할 책 인데 한국인 입맛 에 는 맞 는지 그건 잘 모르 겠 어요 . 하지만 영어 판 은 대단 한 책 입니다 . Ways of Seeing radicalised the way an entire generation looked at art . FT 기사 참조 . ==> 한 번 읽 어 보 세요 . pdf 파일 다운 받 은 거 예요 . 비디오 보 기 는 https : / / vimeo . com / 3140633 좀 더 기초 적 이 고 간단 한 책 을 번역 하 다가 끝 내지 를 못 했 는데 존 버거 의 책 에 비하 면 많이 부족 한 면 이 있 구요 . 존 버거 의 책 은 영어 pdf 파일 , 비디오 가 많 으니 이 책 을 읽 어 보 는 것 이 좋 아요 . ways - of - seeing - john - berger - 5 . 7 . pdf BergerWaysOfSeeing . pdfAt BFI Southbank , John Berger ’ s seminal TV series about art gets a rare screening . But what is his influence in the age of Damien Hirst ? Aman walks into an art gallery and cuts up a Botticelli with a Stanley knife . “ The art of the past no longer exists as it once did , ” explains the tousle - haired , shining - eyed Marxist commentator . “ Its authority is lost . In its place there is a language of images . What matters now is who uses that language for what purpose . ” First shown in 1972 , John Berger ’ s BBC television series Ways of Seeing radicalised the way an entire generation looked at art . Before Berger , painterly detail , the development of a style , attributions and authentications , were the tools of an art historian ’ s trade , and those practising it most successfully in the 20 th century – Bernard Berenson in the splendour of his Florentine villa , Kenneth Clark , who bought himself Saltwood Castle in Kent and was knighted for his stately TV seriesCivilisation – had always been unashamedly elitist in both their work and their lives . Then came Berger , born in Hackney , east London , in 1926 , educated not at Harvard or Oxford but at London art schools , hanging out not with collectors and dealers but with the revolutionary Black Panther Party , to which he donated half the money from his 1972 Booker Prize - winning experimental novel G , about a rich Italian ’ s journey to class consciousness . Berger taught us that oil painting was a celebration of social standing , that landscapes were created for landowners , and that “ you paint a naked woman because you enjoyed looking at her ” . The accompanying paperback , with its shrieking bold typeface and hazy black and white reproductions of Old Master nudes placed alongside provocative photographs from contemporary magazines , became a bestseller . I was one of countless students in the 1970 s and 1980 s , many of us chafing at traditional , male - dominated Oxbridge readings of art and literature , for whom Berger was a blast of truth . He demystified high art , repackaged it in terms that related to everyday life , and proved that a love of great paintings need not be elitist but could co - exist with communitarian values . Today , social and political contexts are so integral to our reading of a picture or story that it is easy to forget how revolutionary Berger ’ s stance was . No commentator on art since – from Robert Hughes to Sister Wendy – has escaped his influence . However , copyright restrictions on the hundreds of paintings and advertising images quoted in Ways of Seeing have made it impossible to release the series on DVD . Available only in grainy , bootleg copies , it is seldom seen . But next week comes a rare chance to revisit : a 40 - year anniversary screening of the four 30 - minute episodes , shown back to back , at the British Film Institute , forms the core of a Berger - fest of films and talks , and invites us to reconsider his legacy – among the most paradoxical of any British intellectual in the past half century . © BFIJohn Berger takes a Stanley knife to a Botticelli in ‘ Ways of Seeing ’ ( 1972 ) For while the framework of Berger ’ s vision of art history , derived from Marxist philosopher Walter Benjamin ’ s 1936 essay “ The Work of Art in the Age of Mechanical Reproduction ” , quickly looked out - dated , his insights proved not only pertinent and liberating but pragmatic . Ways of Seeing broke down the class - bound walls of the museum to let everyone in – so successfully that the statistics Berger quotes , showing that less than one per cent of Europeans without educational qualifications visited galleries , and his claim that “ the majority of the population do not visit art museums ” , are perhaps the most dated aspect of his book when reread in today ’ s context of Tate Modern ’ s 6 m annual visitors , or the more than 1 m people who saw the National Gallery ’ s 2006 show Manet to Picasso . The effects of Berger ’ s thinking – in the democratisation of culture , the dissemination of art through TV and other populist media , the accessible character of public galleries and exhibitions across the country – continue to reach and benefit millions who have never heard his name . Yet this democratisation hardly happened the way Berger hoped : in the conclusion toWays of Seeing , he warned precisely of the danger of the celebrity art ’ n ’ money culture that now surrounds us . “ Glamour cannot exist without personal social envy being a common and widespread emotion . The industrial society . .. recognises nothing except the power to acquire . .. No other kind of hope or satisfaction or pleasure can any longer be envisaged within the culture of capitalism . ” Berger ended hopefully , however , with a reproduction of René Magritte ’ s surrealist “ On the Threshold of Liberty ” , depicting a cannon pointing at various traditional paintings – landscapes of sky and forest , a nude – and , in the book , the words “ To be continued by the reader . .. ” And the conceptual artists who were children whenWays of Seeing was first shown did , indeed , turn the cannon on the landscape and the nude , but they hardly stormed the barricades ; instead , they became global capitalists like Damien Hirst , with an estimated wealth of £ 215 m , or Tory voters like Tracey Emin . By chance , Ways of Seeing launches in the same week that , a few strides along the Southbank , Hirst ’ s first British retrospective opens at Tate Modern . Hirst ’ s subjects are money – the £ 50 m diamond skull “ For the Love of God ” , the performance - piece that was Sotheby ’ s £ 111 m sale Beautiful Inside My Head Forever – and his method is branding . Such combinations have made fortunes for many of the world ’ s best - known contemporary artists , such as Jeff Koons , Takashi Murakami , and Richard Prince . When money talks this loudly , does it render a voice such as Berger ’ s old - fashioned , quaintly utopian ? Or is he more relevant than ever in our current materialist delirium , when obscene prices – $ 33 m for a Francis Bacon last month , £ 19 m for a Henry Moore – blind us to anything except art ’ s value as a commodity ? Or have his ideas been assimilated into establishment viewpoints so smoothly that they have been neutralised , tamed ? What distinguished Berger ’ s art criticism from the start was a unique mix of stridency and poetry . Writers before him had been impresarios for innovation – Guillaume Apollinaire and cubism in the early 20 th century , Clement Greenberg and abstract ｅxpressionism in postwar America – but they remained essentially connoisseurs . Berger can adopt a refined , art - critical vocabulary – in reviews in recent months he has explored Cézanne ’ s use of black and Degas ’ relationship to Mantegna – but Ways of Seeing deliberately broke free of that style . Crucially , the series operated as a leftwing , populist riposte to Clark ’ s Civilisation ( 1969 ) , one of the first TV documentaries made in colour . In the gap between these two programmes , just three years apart , we see British culture exhilaratingly transform , expand , both lose and gain confidence in its global outlook . Clark , the greatest 20 th - century British art historian , was a protégé of Berenson and every inch the establishment aesthete – in 1933 , aged 30 , he became the youngest ever director of the National Gallery . Civilisation , filmed in 11 countries in settings ranging from the library lined with leather - bound volumes at Osterley Park to Paris during the 1968 uprisings , was Euro - centric , pro - individualist , dismissive of modernity . “ I can see [ the students ] . .. impatient to change the world , vivid in hope , although what precisely they hope for , or believe in , I don ’ t know , ” Clark mused loftily in the penultimate episode . With hindsight , one perceives how the series ’ bombast masked collective insecurity : as Clark later acknowledged , it was conceived in answer to growing criticism of and fears for western civilisation , crystallised in Cyril Connolly ’ s dirge in 1949 : “ It is closing time in the gardens of the west and from now on an artist will be judged only by the resonance of his solitude or the quality of his despair . ”© BridgemanThomas Gainsborough ’ s ‘ Mr and Mrs Andrews ’ ( 1748 - 1749 ) If Clark was late gatekeeper to those gardens , Berger smashed the fence and messed up the lawns . Clark in his programme on “ The Nude ” had discussed classicism ’ s ideal forms ; Berger answered with a sequence that juxtaposed Rubens ’ “ Judgement of Paris ” , a Rajasthani depiction of a copulating couple and a snap from Playboy to show that in European convention “ men act and women appear . Men look at women . Women watch themselves being looked at . ” Where Clark in “ Landscape into Art ” had lingered on the sensitively executed background in Gainsborough ’ s “ Mr and Mrs Andrews ” , Berger saw “ landowners [ whose ] proprietary attitude towards what surrounds them is visible in their stance and their ｅxpressions ” . We take this for granted now , but it was controversial in 1972 . Today , Gainsborough reeks of privilege to us all , and every exploration of his work has to confront that response . In fact , more or less any exhibition in a public gallery has to deal with issues of class and gender , and museum directors and curators tend to choose subjects encouraging debate around these themes – as the big shows in London this spring confirm . Migrations at Tate Britain retells the history of British art through the contribution of immigrant , especially black , communities , and Tate Modern celebrates thefeminist journey of Yayoi Kusama . The Royal Academy interprets 18 th - century portraitist Johann Zoffany as an outsider - satirist of the English upper crust . The National Portrait Gallery positions Lucian Freud as chronicler of social change and collapsing hierarchies in Britain . In such interpretations , reaching audiences of millions , lies the real , continuing impact of Berger . It is worth noting that exhibitions of this ambition and scope in Britain tend to be more politically charged than their equivalents in France or Germany . Postwar Europe has not been short of theorists who encouraged a reading of the social and political signs underlying a work of art . Berger , who moved to Haute - Savoie in the mid - 1970 s and still lives and farms there , is a direct contemporary of the French semioticians Michel Foucault , Jean Baudrillard , Jacques Derrida ; Germany since 1955 has focused cultural - political debate at Documenta , the contemporary art forum in Kassel . But none of these are as accessible or practical as Berger , and none has permeated so widely the cross - currents of culture . Simon McBurney , director of the Complicite theatre group who adapted The Three Lives of Lucie Cabrol , Berger ’ s novel about a French peasant woman , for the stage in 1995 , recalls reading Berger as an English literature undergraduate at Cambridge in the late 1970 s . “ Ways of Seeing was one of the key texts we looked to for elucidation . It was that heady time when everyone was in thrall to Barthes and the French structuralists , this whole new way of looking at art and literature , and Berger , in retrospect , stood out because his voice was absolutely direct , and practical and clear . It was his clarity and , of course , his compassion , that entered my consciousness and has stayed with me ever since . ” The clarity of Ways of Seeing was partly rooted in Berger ’ s uncompromising political commitment but also , I think , in something that is as important to hold on to in our climate dominated by conceptual art : an instinctive understanding that art is about the power of images . It is vanity for artists and curators to forget this , for history does not – and nor do audiences : repeatedly , the most successful public exhibitions – from the Royal Academy ’ s 1999 Monet in the 20 th Century , which drew more than 700 , 000 visitors , to the current David Hockney show , which looks set to approach this figure – are those that offer memorable images created by great artists . Hockney often quotes from the American art historian David Freedberg ’ s seminal 1989 work The Power of Images : “ When the history of art parts company with the history of images , the power is with the images – and art becomes just a small thing . ” For Berger art is a big thing ; he shows us how images carry ideas , emotions , visions of history . “ I can ’ t tell you what art does and how it does it , but I know that art has often judged the judges , pleaded revenge to the innocent and shown to the future what the past has suffered , ” he wrote in the essay “ Keeping a Rendezvous ( 1992 ) . “ I know , too , that the powerful fear art , whatever its form , when it does this , and that amongst the people such art sometimes runs like a rumour and a legend because it makes sense of what life ’ s brutalities cannot , a sense that unites us . ” In our depoliticised 21 st - century art world , whose trophy artists , billionaire collectors , obsession with money and status , and wildly unregulated market all trumpet the victory of global capitalism , Berger ’ s idealism and rage matter . Ways of Seeing : John Berger on the Small Screen , April 3 - 17 at BFI Southbankwww . bfi . org . uk / southbankhttp : / / www . ft . com / cms / s / 2 / 928 cc 6 cc - 78 bf - 11 e 1 - 9 f 49 - 00144 feab 49 a . html 저작 자 표시