You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.
JOHN BERGERDeep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
More John Berger Quotes
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Every city has a sex and an age which have nothing to do with demography. Rome is feminine. So is Odessa. London is a teenager, an urchin, and, in this, hasn’t changed since the time of Dickens. Paris, I believe, is a man in his twenties in love with an older woman.
JOHN BERGER -
These contradictions both hide and increase the natural ambiguity of the photographic image.
JOHN BERGER -
Yet nowherein a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond.
JOHN BERGER -
The existence of pleasure is the first mystery. The existence of pain has prompted far more philosophical speculation.
JOHN BERGER -
At times failure is very necessary for the artist. It reminds him that failure is not the ultimate disaster. And this reminder liberates him from the mean fussing of perfectionism.
JOHN BERGER -
Oil painting did to appearances what capital did to social relations. It reduced everything to the equality of objects.
JOHN BERGER -
The happiness of being envied is glamour. Being envied is a solitary form of reassurance. It depends precisely upon not sharing your experience with those who envy you.
JOHN BERGER -
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
JOHN BERGER -
What makes photography a strange invention is that its primary raw materials are light and time.
JOHN BERGER -
It is not usually possible in a poem or a story to make the relationship between particular and universal fully explicit. Those who try to do so end up writing parables.
JOHN BERGER -
What any true painting touches is an absence – an absence of which without the painting, we might be unaware. And that would be our loss.
JOHN BERGER -
Every painted image of something is also about the absence of the real thing. All painting is about the presence of absence.
JOHN BERGER -
By contrast, a woman’s presence… defines what can and cannot be done to her.
JOHN BERGER -
When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss.
JOHN BERGER -
The century of people helplessly seeing others, who were close to them, disappear over the horizon.
JOHN BERGER