Traditional Chinese art looked at the Earth from a Confucian mountain top;
JOHN BERGERWords are so often used in the opposite sense, as a screen of diversion. It’s the struggle towards truthfulness which is the same whether one is writing a poem, a novel or an argument.
More John Berger Quotes
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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.
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Pleasure and pain need to be considered together; they are inseparable. Yet the space filled by each is perhaps different. Pleasure, defined as a sense of gratification, is essential for nature
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Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.
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The past is the one thing we are not prisoners of. We can do with the past exactly what we wish. What we can’t do is to change its consequences.
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Deep 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.
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When we read a story, we inhabit it. The covers of the book are like a roof and four walls.
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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.
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We can become anything. That is why injustice is impossible here. There may be the accident of birth, there is no accident of death. Nothing forces us to remain what we were.
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Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.
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We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.
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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.
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In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.
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All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings.
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The extreme proposition on which Giacometti based all his mature work was that no reality… could ever be shared. This is why he believed it impossible for a work to be finished. This is why the content of any work is not the nature of the figure or head portrayed but the incomplete history of him staring at it.
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All creation is in the art of seeing.
JOHN BERGER






