The Modern Pop Art in Contrast to the Oil Paintings from Past - Essay Example

Number] Analysis of ‘Ways of Seeing’ By John Burger John Berger has been a renowned art critic, painter, and writer. His ideas in ‘Ways of seeing’ entailed philosophical notions of viewing things in a society. The ‘view process Berger’ describes is peculiar in a way that a person sees an object and the value of object develops beforehand. The standard of value set in a society enable people to evaluate objects, relations, and diverse phenomena only due to their prior knowledge and preset belief (Berger, 8). For instance, according to his first stance seeing an object does not solely develop impact neither words can do justice by determining its whole velocity or significance. Thus, seeing is not just an action verb it’s an adjective. Therefore, perceptions impact extensively on images under observation and these images depict diverse meaning and value to the viewer. Emotions and belief acknowledge how one should comprehend certain phenomena like lightning in rain can be viewed, but not fully described in words as to what impact it leaves on a viewer. Secondly, personal perception do play significant role in this seeing phenomena, as a person with pessimistic belief will consider lighting as a bad omen for him. Similarly, a naturalist will enjoy the moment of climatic fury and in the same manner a religious person will consider it as a sign of God’s wrath on his creation due to disobedience. Seeing is like truth, some part always remains concealed. On the same, line he describes that although as a process gaze comes first and later on it is interpreted by the the gazer, but gaze itself is surrounded by prior belief therefore, elaboration of gaze does come the way it has been perceived in a society. For instance, sacrificing animals on a religious event is acceptable in Islam and few other religions of the world. Hence, the sight of sacrificing animal does not induce painful sentiments in Muslims. Instead it brings a sense of obedience by performing a religious ritual. Simultaneously, a person from a different faith would not accept this explanation and will develop negative perception for this Islamic ritual, as for him the sight will be frightening and an unacceptable action. Perceptions are like planes; they fly and land in a certain domain. Berger also claims that seeing brings the object of speculation, close to individual’s proximity i.e. understanding of it. Many at times, one observes death, however, it does not make sense to loved ones and they do not accept it immediately, but through a rational point of view it is a fact which remains the same whether one accepts it or not. Similarly, closeness cannot be assessed or described in words as words cannot determine the intensity of closeness individuals feels. Sentiments are infinite and infinity does not fit in a box. Berger also proclaims that vision of an individual does not contain one specific entity, but it entails a set of things, group of people (society) and union of functions. Hence, this relationship between objects, processes, and oneself is aptly described as vision (9). Berger rightly declares that visibility evokes a sense of worthiness in individuals. He suggests that it so happens when one locks his vision with another person and there on he can ascertain how he is valued. The perception becomes strong when one receives similar gestures from other members of the society as well. Value is predetermined fact of society; coal will not suffice for diamond. Berger suggests that initially images were produced to replace objects, which were not present in a specific region. Later on, these images were produced according to the perception of the viewer or painter. These specifications of the viewer and painter are elaborated by Berger in a way that painter paints a specific piece of art with certain intension, hidden message and in a moment of actualization. Thus, these pieces of art need to be interpreted correctly according to the painter’s motive (11). Standards, cultural values, revolutions, religious beliefs, and hidden messages have been depicted in art since its inception. These codes decipher certain piece of art to the spectator thus, paintings are like puzzle pieces, the more pieces the greater challenge. Through, Frans Hals last two portraits Berger has tried to depict how male and female gender were treated and depicted in the society of late seventeenth century (13). Governor and governesses differ in their composition and arrangement. Moreover, as a poor artist he intended to show rhythm, composition, arrangement, and class in the portrait of governesses and comparatively in the other showed rumple situation of the governors. Inserting peculiar facial details and capturing gestures enabled Hal to paint in a manner that earned the title of seduction. His painting entailed messages, but for those who needed to see how the society evolved and emerged in the seventeenth century. These small and unidentified details are not immediately recognizable; otherwise, it would have been rejected immediately, but after decades Regent’s painting is deciphered and it shows how the painter wanted him to be seen. Perceptions in past and present differ to a larger extent that is why elements in the olden paintings could not be studied like the way it has been in this day (16). After the invention of camera the significance of image changed to an extent that capturing moments became much easier and that declined the value of oil paintings. Thus, one innovation produces both optimistic and pessimistic impact. Paintings were the most influential mute communicator of that era, but with the commencement of camera, images became photographs and art was manipulated by it (18). The reproduction phenomenon according to Berger produces aesthetic and financial value of the art. In the past, oil paintings were considered the life and tale of a building. They were silent communicator of the resident’s belief, likes, what he considers or has experienced. However, with camera art was widespread, viewed, and was used in more conventional ways than ever. Nevertheless, with the advent of photographs the perceptions related to art changed over time. Art became within the reach of spectator’s view and original art became more unknown. However, these reproduced images still cannot replace the original art, as its uniqueness cannot be challenged (20). Berger brings forth to his reader how there is a vivid difference in original oil painting and its reproduction. Oil paintings have been quiet in their sense, but their monetarily value has changed due to the extinction of unique pieces of art. Simultaneously, their demand has increased due to shortage and according to Berger only Leonardo da Vinci’s painting worth two and a half million pounds (23). According to author, their values is determined according to the mystery of the unique piece, it has been not present than the art is under influential regime. Portraits hanged in museums behold diverse meaning, yet these meanings have become transmittable in a manner that they are conveyed in a form of information. Berger argues if this information is used, it can become useful otherwise, it can be a kind of dead end for it. This dead end makes it just a piece of art worth millions, but spectators cannot see what it actually meant for. They can only see the price tags, otherwise; these paintings have been considered as mundane art of the past (24). Berger also argues that if the original art is reproduced, the reproduced art loses the aim behind. The reproduction denotes its own aim then and that aims comes from the gaze of the reproducer. Photographs speak explicitly and paintings are interwoven with anecdotes (26). Simultaneously, Pop art has been a creation of revolutionary team of subversive artists. These artists praised the essence of pop culture, hence; for them material entail the quality of significance like a natural phenomenon. These artists can be rightly called as personal expressionist by Berger (30). These artists do not disparage the presence and significance of material fact, but do interpret it as a natural fact necessary for survival. These artists have been inspired by mass communication techniques and are a product of commercialism age. Hence, they have majorly infused moments of material significance in their pictorial expressions. After an oppressive period of war and fiscal struggle these artists wanted to defy gloominess and thus, collected the material medium to show their latest inclination and emerging trends. Nevertheless, meaning of a painting immediately transforms as soon as one reads accompanying text. For instance, Berger discusses how ‘Wheat Field’ by Van Gogh changes its meaning when one realizes that the painter shot himself after it. Accompanying text changes the connotation of a painting or picture, similarly if one assesses pop art; like renowned piece of Kevin cherry’s collage, his work is an amalgamation of pictures and text. This kind of pop art falls into the digital category of work and depicts the characteristics of 1960’s artists. Pop artists of this era were motivated by the wave of freedom of expression, innovation, rigorous discipline, acceptance or materialism, and ambition. Their work contained condemnation against traditions and revolutionary ideas against forced governance. Cherry has been painting from a standpoint where he himself becomes a spectator and makes the events; a painter. His choice is to see and to show, but not to imply how it should be interpreted. (Friedman, 2008 ) According to Berger, meaning of image alters as soon as the viewer finds diverse images beside, before or after it (29). Hence, sensational and interpretational meaning of image differ when one observe any image alone and when they are in line with diverse set of images. Cherry’s work represents sensational visual influence and witty connotation. His work brings forth the ideas of expressive graphic representation, comic style, codification, and innovation. Since he was child of commercialism thus, his work depicts significance of commodity and consumerism explicitly. (Friedman, 2008) If one discusses the modern pop art in contrast to the oil paintings from past, it becomes evident that the modern art is diverse from every aspect. Yet, Art is produced to make shock waves and it leaves the spectators in the state of amazement. Similarly, original art is unique and can be decipher only if the spectator is able to gaze its peculiarities. With reproduced images like photographs it’s not possible. Reproduced images of famous painting ‘Mona Lisa’ can replace its uniqueness, no; ultimately it only provides of a glimpse of it, a first impression of how it stands, but to truly see it, one needs to assess it in its own environment. The air of an image develops pool of waves and every wave is a new awakening. According to Cézanne, painting is a minute of history before the viewer’s eye. This all changes with the advent of camera and film making, but still the peculiar moment enable the viewer to grasp the instantaneous gesture of the painter (Berger, 31). This distinguishes photographs and paintings apart and sustains an air of velocity for the later. Work Cited: Top of Form Berger, John. Ways of Seeing. London: British Broadcasting Corp, 1972. Print. Friedman, Vitaly. Pop Art Is Alive: Classics And Modern Artworks - Smashing Magazine. Smashing Magazine. N. p., 2008. Web. 9 Jul. 2014.Bottom of Form Read More