Document Text Contents
Page 1
, ,
A book made by
John Berger, Sven Blomberg, Chris Fox.
Michael Dibb, Richard Hollis
. "
" ..'
,',
WAYS OF SEEING
based on the SBe television series with
JOHN BERGER
II q4-v
British Broadcasting Corporation
and Penguin �B�~�o�k�s
Page 2
Note to the reader
. ,., .. �~ '.
Publishcdby
thc British Bro- d
a castmgCorporation 35 M I bo
' arye ne Ili,gh StrccL london WI,'" 4AA
ISBN 0 563 122447
andby
PEI\GUfN BOOKS
PublIshedby Ihe PenguJOGroup
PengumRooksI td 27 W
Vlkm - nghtsLane londonW8 5T7
]75 H::engU5JO,a dIvIsIon of Pcngum�R�o�o�k�~ USA Inr.: England
son tfl,:el New York l\ y
PenguinBooks�A�u�~�t�r�3�h�3 lid Rew ark 10014 USA
PengUInRooksC.m'ld,l I td 28 lngwood, Vlctorra AUSlraha
P 01 john Streel M kh 0
engumBooks(NZ) lid 182-190W . ar am, ntario. Canada11R 1"4
' 31rau Road Audr· d 10 .-
PenguinBooksLtd R . ' .In, '\lew Lcilland
. cglsteredOfTiL"CS: Ilarmondsworth M'dd"
- I I e'>Cx. Lngland
ISBN 0 /4 021631 6
Firs.t publishedin Great"ritain by the
Bntlsh RrOilde.lslmgCo r"
30 29 28 27 rpo allon and PenguinBooh ltd 1972
First publishedin thc United
Publishedin p' �S�t�a�l�~ ofAmericaby TheViking Pr (
engUln Booksm the Unitcd 5,-" fA . ess A RichardSeaverBook) '97'
• es0 rnenca1977 -
Copyrightin a/l t:ounlriesoflhe I t
All rights reserved n ern.nionalCoPyrighl Linion 1972b" Pe"g«, " '
J u 11 oo"s lid
Printedin Englandbv O-
Ff' - ars lid, St hL..... pic
I m.o.et m Monophot() �l�;�n�i�~�e�f�'�l
Exccpl in the United S
h talesof America th ho kt econdition that il h II . ' IS ° IS sold subJecl10
s 3 nOI by \\'.y ofl d
re,sold,hired Oll! or othe .. ' " ra Corothcrv.lse.he ICn!
, • TV.1'i(: C'lTCUhlcd \.\ ilh h '
pnorConsentin dny form ofb d' out I c pubhshcr'"
WhiCh, ,il is published' d 'h 1O 109or CoYer olhc,'r lhan lh:n in
iln \.\ll OUI a simila d
condliion heing impo d 'rcon ilIOn mdudm8lhis
sc on lhc SUbsequentpun;ha..er
This book has been made by five of us. Our
starting point was some of the ideas contained in the television
series Ways of Seeing. We have tried to extend and elaborate
these ideas. They have influenced not only what we say but
also how we have set about trying to say it. The form of the
book is as much to do with our purpose as the arguments
contained within it.
The book consists of seven numbered essays.
They can be read in any order. Four of the essays use words
and images, three of them use only images. These purely
pictorial essays (on ways of seeing women and on various
contradictory aspects of the tradition of the oil painting) are
intended to raise as many questions as the verbal essays.
Sometimes in the pictorial essays no information at all is given
about the images reproduced because it seemed to us that
such information might distract from the points being made.
In all cases, however, this information can be found in the List
of Works Reproduced which is printed at the end of the book.
None of the essays pretends to deal with more
than certain aspects of each subject: particularly those aspects
thrown into relief by a modern historical consciousness.
Our principal aim has been to start a process of questioning.
Page 39
7978
Page 40
81
Page 78
101 Triumph of Knowledge by Bartholomew Spranger,
1546--1611, Vienna Gallery I
102 Three Graces Decorating Hymen by Sir Joshua
Reynolds, 1723-92, Tate Gallery, London I
102 Ossian Receiving Napoleon's Marshalls in Valhalla :
by A. L. Girodet de Roucy-Trioson, 1767-1824, '
Chateau de Malmaison 4
103 Tavern Scene by Adriaen Brouwer, 1605/6--38,
National Gallery, London
104 Laughing Fisherboy by Frans Hals, 15B0-1666,
Burgsteinfurt, Westphalia: collection, Prince of Bentheim
and Steinturt Iii
104 Fisherboy by Frans Hals, 1580-1666, National Gallery
of Ireland, Dublin
104 An Extensive Landscape with Ruins
by Jacob van Ruisdael, 1628/9--82, National Gallery,
london
105 River Scene with Fishermen Casting a Net
by Jan Van Goyen, 1596--1656, National Gallery, London,
106 Mr and Mrs Andrews by Thomas Gainsborough,
1727-88, National Gallery, London
111 Portrait of Himself and Saskia by Rembrandt
van Ryn, 1606--69, Pinakotek, Dresden
112 Self-portrait by Rembrandt van Ryn, 1606-69,
Uffizi, Florence
114 (top) Europe supported by Africa and America
by William Blake, 1757-1827
114 (bottom) Pity by William Blake, 1757-1827
115 Mildew Blighting Ears of Corn by William Blake,
1757-1827
116 (top) Mademoiselle de Clermont
by Jean Marc Nattier, 1685--1766,
Wallace Collection. London
116 (bottom) Sale of Pictures and Slaves in the
Rotunda, New Orleans, 1842
117 (top left) Princess Rakoscki by Nicolas de Largillierre,
1656--1746, National Gallery, London
117 (top right) Charles, Third Duke of Richmond
by Johann Zoffany, 1734/5--1810, private collection
117 (bottom) Two Negroes by Rembrandt van Ryn,
1606--69, The Hague, Mauritshuis
162
118 Sarah Burge, 1883. Dr Barnardo's Homes
by unknown photographer
119 Peasant Boy leaning on Sill by Bartolome Murillo.
1617-82, National Gallery, London
120 (top left) A Family Group by Michael Nouts,16561,
National Gallery, London
120/1 (top centre) Sleeping Maid and her Mistress
by Nicholas Maes. 1634-93, National Gallery. London
120 (bottom left) Interior, Delft School, c. 1650-55I,
National Gallery, London
120/1 (bottom centre) Man and a Woman in a Stableyard
by Peter Quast, 1605/6-47, National Gallery, London
121 (top right) Interior with Woman Cooking
by Esaias Boursse. Wallace Collection. London
121 (bottom right) Tavern Scene by Jan Steen, 1626--79,
Wallace Collection, london
122 (top left) The Frugal Meal by John Frederick Herring,
1795-1865, Tate Gallery, London
122 (top right) A Scene at Abbotsford
by Sir Edwin Landseer, 1802-73, Tate Gallery, London
122 (centre left) White Dogs by Thomas Gainsborough,
1727-88, National Gallery, London
122 (centre middle) Dignity and Impudence
by Sir Edwin Landseer, 1802-73, Tate Gallery, London
122 (centre right) Miss Bowles by Sir Joshua Reynolds,
�1�7�2�3�~�9�2�, Wallace collection, London
122 (bottom) detail: Farm Cart by Thomas Gainsborough,
1727-88, Tate Gallery, London
123 (top) The James Family by Arthur Devis, 1711-87,
Tate Gallery, london
123 (centre left) A Grey Hack with a White Greyhound
and Blue Groom by George Stubbs, 1724-1806,
Tate Gallery, London
123 (centre right) The Bay Horse by John Ferneley,
1782-1860, Tate Gallery, London
123 (bottom) A Kill at Ashdown Park
by James Seymour, Tate Gallery, London
124 Girl in White Stockings by Gustave Courbet,
1819-77
125 Demoiselles au bard de la Seine
by Gustave Courbet 1819-77,
163
Page 79
Musee du Petit Palais, Paris
126 (centre) Le Salon photograph
126 (top) Les Romains de la Decadence
by Thomas Couture, 1815--79
126 (bottom left) Madame Cahen d'Anvers by L. Bonnat
126 (bottom right) The Ondine of Nidden by E. Doerstling
127 (top right) The Temptation of St Anthony
by A. Morot
127 (top left) Witches Sabbath by Louis Falero
127 (bottom left) Psyche's Bath by Leighton
127 (bottom right) La Fortune by A. Maignan
129 Photograph by Sven Blomberg
134 Dejeuner sur I'Herbe by Edouard Manet. 1832-83,
Louvre, Paris
136 (top) Jupiter and Thetis by J. A. D. Ingres, 1780-1867,
Musee Granet, Aix-en-Provence
136 (bottom left) Pan Pursuing Syrinx
by Hendrick van Balen I and follower of Jan Breughel I,
17th century, National Gallery, London
137 (bottom left) Bacchus, Ceres and Cupid
by Bartholomew Spranger, 1545--1611
137 (top left) Interior of St Odulphus' Church at
Assendelft, 1649 by Pieter Saenredam, 1547-1665
137 (top right) Wave by Hokusai, 1760-1849
139 Carlo Lodovico di Barbone Parma with Wife,
sister and Future Carlo III of Parma,
Anon, 19th century, Archducal Estate Viareggio
141 Still Life with Drinking Vessels by Pieter Claesz,
1596/7-1661, National Gallery, London
147 Mrs Siddons by Thomas Gainsborough, 1727-88,
National Gallery, London
147 Marilyn Monroe by Andy Warhol
155 On the Threshold of Liberty
by Rene Magritte, 1898--1967
164
Acknowledgement is due to the following for permission to reproduce
pictures in this book:
Sven Blomberg, 129, 134; City of Birmingham, 67 (bottom); City of
Norwich Museums, 83; Chiddingstone Castle, 52; Euan Duff, 142
(bottom), 148; Evening Standard, 36 (bottom); Frans Hals Museum, 12;
Giraudon, 50, 57, 66 (top left), 68 (bottom), 70 (bottom);
Kunsthistorisches Museum, 27, 85; Mansell, 39, 60, 111. 112; Jean
Mohr, 36 (top). 43 (bottom); National Film Archive, 17; National
Gallery, 20, 23, 25 (bottom), 43 (top). 54, 70 (top), 74 (top),
75 (top), 87, 89, 92 (top left), 97, 100 (top). 103, 104, 105, 106,
117 (top left), 119, 120 (top left and bottom left). 120-1 (top and
bottom), 141, 147; National Trust (Country Life), 76; Rijksmuseum,
Amsterdam, 31; Tate Gallery, 98 (bottom), 102 (top), 122 (top
right and bottom), 123 (middle right and top); Wadsworth
Atheneum, Hartford, 86; Wallace Collection, 71 (top and bottom),
72,75,99,116 (top), 121 (top and bottom); Walker Art Gallery,
99 (bottom).
I) 9L;-o-
165
, ,
A book made by
John Berger, Sven Blomberg, Chris Fox.
Michael Dibb, Richard Hollis
. "
" ..'
,',
WAYS OF SEEING
based on the SBe television series with
JOHN BERGER
II q4-v
British Broadcasting Corporation
and Penguin �B�~�o�k�s
Page 2
Note to the reader
. ,., .. �~ '.
Publishcdby
thc British Bro- d
a castmgCorporation 35 M I bo
' arye ne Ili,gh StrccL london WI,'" 4AA
ISBN 0 563 122447
andby
PEI\GUfN BOOKS
PublIshedby Ihe PenguJOGroup
PengumRooksI td 27 W
Vlkm - nghtsLane londonW8 5T7
]75 H::engU5JO,a dIvIsIon of Pcngum�R�o�o�k�~ USA Inr.: England
son tfl,:el New York l\ y
PenguinBooks�A�u�~�t�r�3�h�3 lid Rew ark 10014 USA
PengUInRooksC.m'ld,l I td 28 lngwood, Vlctorra AUSlraha
P 01 john Streel M kh 0
engumBooks(NZ) lid 182-190W . ar am, ntario. Canada11R 1"4
' 31rau Road Audr· d 10 .-
PenguinBooksLtd R . ' .In, '\lew Lcilland
. cglsteredOfTiL"CS: Ilarmondsworth M'dd"
- I I e'>Cx. Lngland
ISBN 0 /4 021631 6
Firs.t publishedin Great"ritain by the
Bntlsh RrOilde.lslmgCo r"
30 29 28 27 rpo allon and PenguinBooh ltd 1972
First publishedin thc United
Publishedin p' �S�t�a�l�~ ofAmericaby TheViking Pr (
engUln Booksm the Unitcd 5,-" fA . ess A RichardSeaverBook) '97'
• es0 rnenca1977 -
Copyrightin a/l t:ounlriesoflhe I t
All rights reserved n ern.nionalCoPyrighl Linion 1972b" Pe"g«, " '
J u 11 oo"s lid
Printedin Englandbv O-
Ff' - ars lid, St hL..... pic
I m.o.et m Monophot() �l�;�n�i�~�e�f�'�l
Exccpl in the United S
h talesof America th ho kt econdition that il h II . ' IS ° IS sold subJecl10
s 3 nOI by \\'.y ofl d
re,sold,hired Oll! or othe .. ' " ra Corothcrv.lse.he ICn!
, • TV.1'i(: C'lTCUhlcd \.\ ilh h '
pnorConsentin dny form ofb d' out I c pubhshcr'"
WhiCh, ,il is published' d 'h 1O 109or CoYer olhc,'r lhan lh:n in
iln \.\ll OUI a simila d
condliion heing impo d 'rcon ilIOn mdudm8lhis
sc on lhc SUbsequentpun;ha..er
This book has been made by five of us. Our
starting point was some of the ideas contained in the television
series Ways of Seeing. We have tried to extend and elaborate
these ideas. They have influenced not only what we say but
also how we have set about trying to say it. The form of the
book is as much to do with our purpose as the arguments
contained within it.
The book consists of seven numbered essays.
They can be read in any order. Four of the essays use words
and images, three of them use only images. These purely
pictorial essays (on ways of seeing women and on various
contradictory aspects of the tradition of the oil painting) are
intended to raise as many questions as the verbal essays.
Sometimes in the pictorial essays no information at all is given
about the images reproduced because it seemed to us that
such information might distract from the points being made.
In all cases, however, this information can be found in the List
of Works Reproduced which is printed at the end of the book.
None of the essays pretends to deal with more
than certain aspects of each subject: particularly those aspects
thrown into relief by a modern historical consciousness.
Our principal aim has been to start a process of questioning.
Page 39
7978
Page 40
81
Page 78
101 Triumph of Knowledge by Bartholomew Spranger,
1546--1611, Vienna Gallery I
102 Three Graces Decorating Hymen by Sir Joshua
Reynolds, 1723-92, Tate Gallery, London I
102 Ossian Receiving Napoleon's Marshalls in Valhalla :
by A. L. Girodet de Roucy-Trioson, 1767-1824, '
Chateau de Malmaison 4
103 Tavern Scene by Adriaen Brouwer, 1605/6--38,
National Gallery, London
104 Laughing Fisherboy by Frans Hals, 15B0-1666,
Burgsteinfurt, Westphalia: collection, Prince of Bentheim
and Steinturt Iii
104 Fisherboy by Frans Hals, 1580-1666, National Gallery
of Ireland, Dublin
104 An Extensive Landscape with Ruins
by Jacob van Ruisdael, 1628/9--82, National Gallery,
london
105 River Scene with Fishermen Casting a Net
by Jan Van Goyen, 1596--1656, National Gallery, London,
106 Mr and Mrs Andrews by Thomas Gainsborough,
1727-88, National Gallery, London
111 Portrait of Himself and Saskia by Rembrandt
van Ryn, 1606--69, Pinakotek, Dresden
112 Self-portrait by Rembrandt van Ryn, 1606-69,
Uffizi, Florence
114 (top) Europe supported by Africa and America
by William Blake, 1757-1827
114 (bottom) Pity by William Blake, 1757-1827
115 Mildew Blighting Ears of Corn by William Blake,
1757-1827
116 (top) Mademoiselle de Clermont
by Jean Marc Nattier, 1685--1766,
Wallace Collection. London
116 (bottom) Sale of Pictures and Slaves in the
Rotunda, New Orleans, 1842
117 (top left) Princess Rakoscki by Nicolas de Largillierre,
1656--1746, National Gallery, London
117 (top right) Charles, Third Duke of Richmond
by Johann Zoffany, 1734/5--1810, private collection
117 (bottom) Two Negroes by Rembrandt van Ryn,
1606--69, The Hague, Mauritshuis
162
118 Sarah Burge, 1883. Dr Barnardo's Homes
by unknown photographer
119 Peasant Boy leaning on Sill by Bartolome Murillo.
1617-82, National Gallery, London
120 (top left) A Family Group by Michael Nouts,16561,
National Gallery, London
120/1 (top centre) Sleeping Maid and her Mistress
by Nicholas Maes. 1634-93, National Gallery. London
120 (bottom left) Interior, Delft School, c. 1650-55I,
National Gallery, London
120/1 (bottom centre) Man and a Woman in a Stableyard
by Peter Quast, 1605/6-47, National Gallery, London
121 (top right) Interior with Woman Cooking
by Esaias Boursse. Wallace Collection. London
121 (bottom right) Tavern Scene by Jan Steen, 1626--79,
Wallace Collection, london
122 (top left) The Frugal Meal by John Frederick Herring,
1795-1865, Tate Gallery, London
122 (top right) A Scene at Abbotsford
by Sir Edwin Landseer, 1802-73, Tate Gallery, London
122 (centre left) White Dogs by Thomas Gainsborough,
1727-88, National Gallery, London
122 (centre middle) Dignity and Impudence
by Sir Edwin Landseer, 1802-73, Tate Gallery, London
122 (centre right) Miss Bowles by Sir Joshua Reynolds,
�1�7�2�3�~�9�2�, Wallace collection, London
122 (bottom) detail: Farm Cart by Thomas Gainsborough,
1727-88, Tate Gallery, London
123 (top) The James Family by Arthur Devis, 1711-87,
Tate Gallery, london
123 (centre left) A Grey Hack with a White Greyhound
and Blue Groom by George Stubbs, 1724-1806,
Tate Gallery, London
123 (centre right) The Bay Horse by John Ferneley,
1782-1860, Tate Gallery, London
123 (bottom) A Kill at Ashdown Park
by James Seymour, Tate Gallery, London
124 Girl in White Stockings by Gustave Courbet,
1819-77
125 Demoiselles au bard de la Seine
by Gustave Courbet 1819-77,
163
Page 79
Musee du Petit Palais, Paris
126 (centre) Le Salon photograph
126 (top) Les Romains de la Decadence
by Thomas Couture, 1815--79
126 (bottom left) Madame Cahen d'Anvers by L. Bonnat
126 (bottom right) The Ondine of Nidden by E. Doerstling
127 (top right) The Temptation of St Anthony
by A. Morot
127 (top left) Witches Sabbath by Louis Falero
127 (bottom left) Psyche's Bath by Leighton
127 (bottom right) La Fortune by A. Maignan
129 Photograph by Sven Blomberg
134 Dejeuner sur I'Herbe by Edouard Manet. 1832-83,
Louvre, Paris
136 (top) Jupiter and Thetis by J. A. D. Ingres, 1780-1867,
Musee Granet, Aix-en-Provence
136 (bottom left) Pan Pursuing Syrinx
by Hendrick van Balen I and follower of Jan Breughel I,
17th century, National Gallery, London
137 (bottom left) Bacchus, Ceres and Cupid
by Bartholomew Spranger, 1545--1611
137 (top left) Interior of St Odulphus' Church at
Assendelft, 1649 by Pieter Saenredam, 1547-1665
137 (top right) Wave by Hokusai, 1760-1849
139 Carlo Lodovico di Barbone Parma with Wife,
sister and Future Carlo III of Parma,
Anon, 19th century, Archducal Estate Viareggio
141 Still Life with Drinking Vessels by Pieter Claesz,
1596/7-1661, National Gallery, London
147 Mrs Siddons by Thomas Gainsborough, 1727-88,
National Gallery, London
147 Marilyn Monroe by Andy Warhol
155 On the Threshold of Liberty
by Rene Magritte, 1898--1967
164
Acknowledgement is due to the following for permission to reproduce
pictures in this book:
Sven Blomberg, 129, 134; City of Birmingham, 67 (bottom); City of
Norwich Museums, 83; Chiddingstone Castle, 52; Euan Duff, 142
(bottom), 148; Evening Standard, 36 (bottom); Frans Hals Museum, 12;
Giraudon, 50, 57, 66 (top left), 68 (bottom), 70 (bottom);
Kunsthistorisches Museum, 27, 85; Mansell, 39, 60, 111. 112; Jean
Mohr, 36 (top). 43 (bottom); National Film Archive, 17; National
Gallery, 20, 23, 25 (bottom), 43 (top). 54, 70 (top), 74 (top),
75 (top), 87, 89, 92 (top left), 97, 100 (top). 103, 104, 105, 106,
117 (top left), 119, 120 (top left and bottom left). 120-1 (top and
bottom), 141, 147; National Trust (Country Life), 76; Rijksmuseum,
Amsterdam, 31; Tate Gallery, 98 (bottom), 102 (top), 122 (top
right and bottom), 123 (middle right and top); Wadsworth
Atheneum, Hartford, 86; Wallace Collection, 71 (top and bottom),
72,75,99,116 (top), 121 (top and bottom); Walker Art Gallery,
99 (bottom).
I) 9L;-o-
165
