When we read a story, we inhabit it. The covers of the book are like a roof and four walls.
JOHN BERGERPicasso drawings are like that… the Rembrandts are like that. The artist who most often did that was Van Gogh.
More John Berger Quotes
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[O]ften art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten.
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For me, drawing is a lot to do with taking out, with returning to the white of the paper.
JOHN BERGER -
A peasant becomes fond of his pig and is glad to salt away its pork.
JOHN BERGER -
When he painted a road, the roadmakers were there in his imagination, when he painted the turned earth of a ploughed field, the gesture of the blade turning the earth was included in his own act.
JOHN BERGER -
What distinguished man from animals was the human capacity for symbolic thought, the capacity which was inseparable from the development of language in which words were not mere signals, but signifiers of something other than themselves.
JOHN BERGER -
The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
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Ethics determine choices and actions and suggest difficult priorities.
JOHN BERGER -
Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.
JOHN BERGER -
Seeing comes before words. The child looks and recognizes before it can speak.
JOHN BERGER -
Every authentic poem contributes to the labour of poetry… to bring together what life has separated or violence has torn apart.
JOHN BERGER -
For the artist, drawing is discovery. And that is not just a slick phrase; it is quite literally true.
JOHN BERGER -
What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind.
JOHN BERGER -
These contradictions both hide and increase the natural ambiguity of the photographic image.
JOHN BERGER -
Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.
JOHN BERGER -
If everything that existed were continually being photographed, every photograph would become meaningless.
JOHN BERGER -
The past grows gradually around one, like a placenta for dying.
JOHN BERGER -
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 -
The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.
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 -
It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
JOHN BERGER -
(The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguises.
JOHN BERGER -
There’s the artist’s intimacy and truthfulness to himself, but an equal intimacy to the Other [the one drawn].
JOHN BERGER -
A photograph is a result of the photographer’s decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
JOHN BERGER -
We follow songs in order to be enclosed. We find ourselves inside a message.
JOHN BERGER -
Poetry can repair no loss, but it defies the space which separates. And it does this by its continual labor of reassembling what has been scattered.
JOHN BERGER -
The heart of Paris is like nothing so much as the unending interior of a house.
JOHN BERGER