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Perspectives of Art, Annotated Bibliography Example

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Annotated Bibliography

Berger, John. Ways of Seeing. London: Penguin, 2008. Print.

John Berger’s “Ways of seeing,” is a comprehensive form of art. It depicts the manner in which people in the artistic world perceive art, as well as the impacts convectional painting has contributed to the modern day publicity. Berger begins in his work by discussing the aspect on how people in the society perceive art against how individuals in the past viewed the art and how this has been affected by reproduction.

John Berger’s present classic literature work “Ways of Seeing” (1972) revolutionarily, during his time discuss the way in which women and men in society are culturally portrayed and represented, and the outcome of these representations influence their self and conduct as well as the mutual perception. Having established the first perspective, the audiences then employ words to interpret the world, which makes this to become a dynamic relationship between the world and the art. This might begin with seeing and recognition, however, this progresses and develops into a system in regards to the past experiences or knowledge changes depending on the things we see (Berger 122).

Berger claims that images were first developed to represent something in the world, that did not exist, and later it received an additional level of meaning by staying long as compared to the original subject. This later will show other people how the subject in form of image looked like in the past. As the art progressed over time, the meaning of the image changed due to increasing awareness concerning images where the image represented particular vision of a specific artist.

From renaissance period, perspective in art congregated on the single audience, who can only be in one position at a particular moment. The implication resulted to a situation where images became timeless. The photography, specifically the movie camera, has changed this significantly. The camera changed the way artists perceived the images. The introduction of photography changed the uniqueness of images by destroying the aspect of uniqueness of these images. Before this period of photography, images were fundamental component of a building, whereby there was only one image. Through reproduction of images, the camera multiplies and changes its meaning.

Berger stresses on different perspectives of art that ranges from 1500’s to modern art era. The author says that images are the potent tools of communication and that they convey messages effectively as compared to other forms of art. There some in life that cannot be described using words, however, through images this can be possible. The potency of images as powerful tools for communication has mystified audiences alike.

Publicity as a type of art in the modern society does not question about presence, nevertheless, questions concerning one’s prospect “Will you be happy?” It investigates the history and refers to the future to allow population feel like they need definite things so as to be happy. Publicity presumes the consideration of advertising and materialism one’s things from conservative oil painting and applies it to contemporary day promotions.  Somewhat than illuminating the things that the viewer has, publicity shows what they need so as to be satisfied. In some way buying these products will make the observer more pleased in the future. Berger paints an unwelcoming image of the effects of conventional publicity and oil painting on the lives of individuals in the society. It is too often used to sustain individual affluence, envy and acquisitiveness

Berger argues that traditionally, women and men have diverse kinds of social presence. Men are evaluated by degree of power they offer. Berger says that women in the society are the major subject in one category of European oil-painting-the nude. Berger claims that a man’s existence in the world is all regarding are power and are connected to what he can do, capability and power. On the other hand, Berger points out that, a woman’s existence is in most instance associated  to itself, not the world she lives, and she does not symbolize latent ,however only her herself, and what can or cannot be done to her, not at all by her. The origins of this uniqueness are for Berger the age old idea that the woman was created and meant to take care of the man. He claims that this make the woman to be always self-conscious, always conscious of her own existence in every act she undertakes. The woman continually surveys and imagines herself and by this her uniqueness is divided between that of the inspector and that of the one being surveyed – the two rules that she has in relative to herself. Because of this, Berger acknowledges, herself value is appraised via the way in which she is portrayed and perceived, in her own eyes, in others’ eyes and in male’s eyes.

Berger groups women in the society in the nude paintings as mere objects, because that is the way they are perceived by both the artists and the viewer, however, objects represented in the paintings also profited the viewer or the owner. Because paintings were already a symbol of class and status, the owner of the painting needed to ensure that the objects in the paintings profited them via their symbolic implications. Artistic soon adopted the metaphysical symbols, which includes actual skulls that represented death. These representations hardly fitted then static materialism art of painting during this time. The symbols and illusionism are the aspects that made oil painting became unique amongst other types of art during the renaissance period, especially the visual form of art, and that is why they became popular. A portrait could reveal numerous features and tastes of the sitter. Art became one method that can be used to evaluate reality during the time of oil painting. Furthermore, the religious during this time were very famous and they indicated the moral aspect of the owner, however, still these paintings were guilty of the offered pleasure for the spectator

Rose, Gillian. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. London [u.a.: Sage Publ, 2007. Print.

Gillian says that the constituents of painting in most cases develops the power of painting has, by having harmony, contrast, or unity. During the renaissance period (1500-1900), oil paintings were greatly valued because they were the only avenues to capture moments during this time and hold this forever. This entirely changed the beginning of the camera, which has fundamentally transformed the manner in which art is viewed currently. According to Gillian, in some way purchasing these products will make the spectator more delighted in the future. Gillian paints an unfriendly picture of the effects of conservative advertising and oil painting on the lives of individuals in the society. It is too often used to maintain individual wealth, envy and covetousness.

Reproduction separates the meaning from the art of painting, and its meaning is to lesser or greater degree changed. By choosing a part of a symbolic painting for instance, it can be changed into a portrait. A filmmaker might develop an argument by choosing sections of a painting and producing them using a particular pattern. Presented with the art of painting itself, the perceiver of the painting takes in the entire images in an instant, and, still when staring at a particular point, can always refer to the entire piece of art. Berger believes that the original image is of great importance, whereby the original piece of art is silent and poses traces of the painter’s activities, creating an element of closeness between the viewer and the painter, thus making the painting, in real, contemporary. Berger has a belief that the art needs a total approach, one that links art to everyone’s experience, which include the innocently impulsive as well that of art specialists. Therefore, no longer preexists as it was first done

Lacey, Nick. Image & Representation: Key Concepts in Media Studies. New York: St. Martin’s Press, 1997. Print.

Lacey says that the social meaning of art has been frequently been dynamic part of art. The masterpieces in the society has been in most cases been a symbol of culture, class, education, and statue. The proponents of painting have their individual social ascriptions given to these pieces of art. The classical nude painting of convectional oil painting period looks modest when they are compared to the modern art; however, it is alike to many pieces of art in the modern society. The symbols and illusionism are the aspects that made oil painting became unique amongst other types of art during the renaissance period, especially the visual form of art, and that is why they became popular. A portrait could reveal numerous features and tastes of the sitter. Art became one method that can be used to evaluate reality during the time of oil painting. Furthermore, the religious during this time were very famous and they indicated the moral aspect of the owner, however, still these paintings were guilty of the offered pleasure for the spectator

The archetypal female nude is painted with the supposition of a male existence, whether in the painting or the spectator as the male existence. The woman is typically posed in a manner to satisfy the spectator, her look is predestined to persuade the onlooker, and this idea is the same in contemporary photographs and advertisements.

Publicity images as per the Lacey in most cases generate unswerving reference to the past art, either by copying it in some style or by combining the form of art into publicity image. The “quoting” of the art gets two major things. Art is connected to beauty and wealth, where promotion images benefits from this feature. In addition, art is a cultural influence that makes it superior to absolute materialism. The exploitation of art allows the media hype image to build up two virtually opposing elements, cultural consumerism and development. Publicity provides the relationship in oil painting between the viewer-owner and the work of art and utilizes this to compliment the viewer-buyer

Publicity assumes thought of materialism and advertising one’s things from conventional oil painting and uses it to the present day promotional activities.  As a substitute of showing the things that the spectator has, publicity portrays what they require so as to be happy. Someway purchasing these products will make the spectator more contented in the future. Promotional activities skip the presents it uses trendy art from the history perspective or events to induce the spectator they will be more contented in the future if they have this material at their comfort. The notion of glamour and jealousy is launched; this will make individuals to be more contented by having something others don’t have. Berger gives perspectives of the difference between glamour now and elegance and sophistication in the past. The past lacked the aspect of glamour as compared to the present. Nowadays glamour is showing off the materials they have that other people do not have and desire. Envy is primary tool in advertising it makes individuals desire what the person in the promotion as shown in the various media has; consequently being unsatisfied with their current state.  Sex and Women are used profusely in promotion because it attractive to both men and women. Men need the women and the sex and the women desire to be the women

Wykes, Maggie, and Barrie Gunter. The Media and Body Image: If Looks Could Kill. London [u.a.: SAGE, 2005. Print.

According to Wykes and Barrie, relationship between publicity images and oil painting that have been obscured by cultural prestige is more direct. Publicity images according to the author in most cases make direct reference to the historical art, either by imitating it in some style or by integrating the form of art into publicity image. The “quoting” of the art attains two main things. Art is linked to beauty and wealth, whereby publicity images gains from this aspect. In addition, art is a cultural authority that makes it advanced to mere materialism. The use of art enables the publicity image to enhance two almost opposing aspects, cultural or spiritual consumerism, and refinement. Publicity comprehends the association in oil painting between the viewer-owner and the work of art and employs this to flatter the viewer-buyer.

Wikes says that diverse perspective of art that ranges from 1500’s to contemporary art era. The author argues that images are the powerful tools of communication and that they convey messages effectively as compared to other forms of art. There some in life that cannot be described using words, however, through images this can be possible. The potency of images as powerful tools for communication has mystified audiences alike. The author further explains that the artist is the only person who can give the meaning of the painting and only viewers interpret the meaning of the image. The mystery according to the author has made viewers to want to know more. Gillian argues that the components of painting in most cases develops the power of painting has, by having harmony, contrast, or unity. During the renaissance period (1500-1900), oil paintings were greatly valued because they were the only avenues to capture moments during this time and hold this forever. This entirely changed the beginning of the camera, which has fundamentally transformed the manner in which art is viewed currently

Waugh, Patricia. Literary Theory and Criticism. Oxford [u.a.: Oxford Univ. Press, 2006. Print.

Waugh says that publicity, as a form of art in the contemporary society does not inquire about presence, however questions regarding one’s future “Will you be happy?” It examines into the past and refers to the prospect to make populace experience like they require certain things so as to be contented. Publicity assumes the thought of advertising and materialism one’s things from conventional oil painting and uses it to modern day advertising and promotions. Rather than revealing the things that the spectator has, publicity indicates what they require so as to be pleased.

Therefore, relationship between publicity images and oil painting that have been hidden by cultural prestige is more direct. Publicity images as per the Berger in most cases create direct reference to the past art, either by copying it in some style or by combining the form of art into publicity image. The “quoting” of the art gets two major things. Art is associated to beauty and prosperity, whereby publicity images benefits from this characteristic. Furthermore, art is a cultural power that makes it higher to sheer materialism. The utilization of art permits the publicity image to develop two nearly opposing aspects, cultural consumerism and enhancement. Publicity comprehends the relationship in oil painting between the viewer-owner and the work of art and uses this to flatter the viewer-buyer

Works Cited

Berger, John. Ways of Seeing. London: Penguin, 2008. Print.

Lacey, Nick. Image & Representation: Key Concepts in Media Studies. New York: St. Martin’s Press, 1997. Print.

Rose, Gillian. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. London [u.a.: Sage Publ, 2007. Print.

Waugh, Patricia. Literary Theory and Criticism. Oxford [u.a.: Oxford Univ. Press, 2006. Print.

Wykes, Maggie, and Barrie Gunter. The Media and Body Image: If Looks Could Kill. London [u.a.: SAGE, 2005. Print.

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