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John Berger / Ways of Seeing , Episode 2 (1972)

John Berger / Ways of Seeing , Episode 2 (1972)

Margarett Kime

33:01

Overview

This video explores the representation of women in European oil painting, particularly focusing on the nude. It argues that traditional nudes are not about the woman's nakedness but about her being seen as an object for the male gaze. The video contrasts this with the idea of being naked as being oneself. It delves into how biblical stories like Adam and Eve and mythological subjects like Susanna and the Elders have been used to depict women as objects of judgment and desire. The analysis extends to the concept of vanity, beauty contests, and the male gaze's influence on how women perceive themselves. The video also incorporates commentary from women discussing their reactions to these artistic conventions and how they shape self-image, contrasting idealized paintings with the reality of photographs and personal experience. Ultimately, it questions whether these artworks celebrate women or the male viewer.

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Chapters

  • •Men dream of women; women dream of being dreamt of.
  • •Women constantly see themselves reflected in the glances of others, acting as mirrors.
  • •A woman's self-perception is heavily influenced by how she appears to men.
  • •Women are taught from childhood to constantly survey themselves.
  • •Women are primarily seen as objects to be looked at in European oil paintings.
  • •The nude is a specific category where women are the principal subject.
  • •Being naked is being oneself; being nude is being seen naked but not recognized.
  • •A nude must be seen as an object to be a nude in art.
  • •The story of Adam and Eve highlights awareness of nakedness created by the beholder's perception.
  • •Women are blamed and punished, becoming subservient to men.
  • •Renaissance art focuses on the moment of shame, directed towards the spectator.
  • •Subjects like Susanna and the Elders reinforce the idea of men spying on naked women.
  • •Mirrors in paintings symbolize female vanity, a concept imposed by male artists.
  • •Artists depict naked women for their own pleasure, then morally condemn them.
  • •The Judgment of Paris transforms into a beauty contest, making beauty competitive.
  • •Aesthetics applied to women are not disinterested; beauty is linked to ownership.
  • •Being naked is being without disguise; being on display is a disguise that cannot be discarded.
  • •Most nudes are posed for the pleasure of the male spectator, their nudity a form of dress.
  • •Exceptions exist where artists reveal the woman as herself (e.g., Rubens, Rembrandt).
  • •Nudity is presented as a uniform for sexual pleasure, not as freedom.
  • •Women's bodies are arranged to display them to the man looking at the picture.
  • •The painting appeals to the male spectator's sexuality, not the woman's.
  • •Minimizing hair on women's bodies reduces their passion, giving the spectator a monopoly.
  • •Women are seldom shown dancing; they are depicted languidly, exhibiting minimum energy.
  • •Idealized nudes are seen as unreal and exaggerated by women.
  • •Photographs are more relatable as they offer a potential, though not always accurate, self-image.
  • •Classical European paintings do not provide pleasure or a connection to a deep-down image of self.
  • •Nudity in art is a 'sight' and a 'uniform' for sexual pleasure, not an expression of freedom.
  • •Women's self-image is derived from others; men's from the world they act within.
  • •Men's narcissism is tied to their agency and interaction with the world, building self-worth.
  • •Women's narcissism is passive, dependent on present interactions, which can end abruptly.
  • •The compulsion to make contact with the world is essential for self-delight and identity.
  • •Catching oneself by chance in a mirror reveals the untidy, tired reality, not the posed image.
  • •Women are always trying to measure up to an erotic image projected onto them.
  • •The ideal woman in art is relaxed, not playing a part, combining pleasure with thought.
  • •True nakedness is about oneself and the truth about oneself, not the idealized nude.

Key Takeaways

  1. 1European oil painting has historically depicted women as objects for the male gaze, not as subjects with their own agency.
  2. 2The concept of the 'nude' in art is distinct from being 'naked'; it implies being seen and judged as an object.
  3. 3Traditional artistic conventions, influenced by biblical and mythological narratives, have reinforced female subservience and objectification.
  4. 4Women's self-perception is significantly shaped by these artistic representations and the constant awareness of being looked at.
  5. 5Idealized nudes in art are often perceived as unreal and disconnected from women's actual sense of self.
  6. 6The male gaze transforms nudity into a form of disguise or uniform for male pleasure, rather than an expression of freedom.
  7. 7Men derive their sense of identity and self-worth from interacting with the world, while women's is often dependent on external validation.
  8. 8True self-expression and freedom lie in authentic contact with oneself and the world, free from the constraints of imposed images.
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