John Berger / Ways of Seeing , Episode 2 (1972)

00:33:01
https://www.youtube.com/watch?v=Qud_422WKZY

概要

TLDRDie video ontleed die voorstelling van vroue in Europese oil painting, met 'n fokus op hoe vroue as objekte van manlike begeerte afgebeeld word. Dit dui op die druk op vroue om hulself aan te pas by die standaarde van hoe hulle beskou word, sowel as die voortdurende selfevaluasie wat hulle ervaar. Die video ondersoek ook hoe naaktheid in kuns nie net 'n weergawes van realiteit is nie, maar eerder 'n simboliese voorstelling van hoe vroue in 'n patriargale samelewing gesien word, en hoe dit hulle selfbeeld en persepsies oor hulself benadeel.

収穫

  • 👀 Vroue is voortdurend bewus van hoe hulle deur ander gesien word.
  • 🖼️ Naaktheid in kuns is 'n weerspieëling van manlike begeerte.
  • 📸 Vroue leer om hulself te evalueer volgens ander se persepsies.
  • 🔍 Die blikke wat vroue ontvang, dra 'n oordeel met hulle saam.
  • 🎨 Europese nude kuns fokus op die objektivering van die vrou.
  • 🙅‍♀️ Naakheid word dikwels gesien as 'n masker eerder as 'n werklike self.
  • 📖 Historiese kontekste vorm hedendaagse beeldspraak van vroue.
  • 👁️ Vroulike selfbeeld is beïnvloed deur kulturele en artistieke voorstellings.
  • 👠 Die idee van beskikbaarheid is 'n tema in vroulike voorstellings.
  • 👩‍🎨 Kuns het 'n langdurige invloed op vroulike identiteite.

タイムライン

  • 00:00:00 - 00:05:00

    Die droom van mans oor vroue en vroue oor hulself strek tot hoe hulle deur mans dopgehou word. Vroue word voortdurend herinner aan hoe hulle lyk en hoe hulle beskou word, wat 'n negatiewe impak het op hul selfbeeld en identiteit.

  • 00:05:00 - 00:10:00

    Vroue word geleer om hulself deur ander se oë te beskou, wat lei tot 'n voortdurende behoeftes om te voldoen aan die skoonheidsideale van die samelewing. Hierdie selfondersoek inligting is noodsaaklik vir wat beskou word as hulle lewens sukses.

  • 00:10:00 - 00:15:00

    In die kuns van die Europese huile, veral in die nude-kategrorie, word vroue as voorwerpe gesien. Hierdie nude is nie bloot om kaal te wees nie, maar om as objektiewe skoonheid gesien te word deur 'n manlike kyker, wat vroue in 'n subserviente posisie plaas.

  • 00:15:00 - 00:20:00

    Die verhaal van Adam en Eva en die bydrae van die vrou se skuld is belangrik, aangesien dit die manier waarop mans en vroue mekaar beskou, en die terugkerende disfunksie van seksuele dinamika in Europese kuns illustreer.

  • 00:20:00 - 00:25:00

    Nude en naaktheid word verskillend beskou; naak is om jouself te wees terwyl 'n nude jou as 'n voorwerp beskou. Vroue in kuns is meestal in 'n posisie waar hulle op standby is vir die manlike kykers se genieting, wat onaangenaam en vernederend kan wees.

  • 00:25:00 - 00:33:01

    Vroue word dikwels op die manier verteenwoordig dat hul naaktheid 'n afspiegeling is van mans se begeertes eerder as hul eie seksualiteit. Die voorstelling van vroue in hierdie paintings het min te doen met die werklike essensie van die vrou, maar eerder met die manlike maatstaf vir skoonheid.

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マインドマップ

ビデオQ&A

  • Wat is die belangrikste tema van die video?

    Die video bespreek hoe vroue in Europese kuns afgebeeld word, veral in die konteks van naaktheid en manlike blik.

  • Hoe word 'n nude gedefinieer in die video?

    Die video stel voor dat 'n nude gesien moet word as 'n objek deur ander, terwyl naakheid nie noodwendig geassosieer word met die werklike self nie.

  • Watter invloed het kuns op die vroulike selfbeeld?

    Die video argumenteer dat die manier waarop vroue in kuns voorgestel word, 'n groot invloed het op hoe vroue hulself beskou.

  • Wat is die verband tussen blikke en oordeel?

    In die video word gesê dat elke blik wat 'n vrou ontvang 'n oordeel impliseer, wat kan kom van haar eie refleksie of van ander.

  • Waarom is naaktheid in kuns belangrik?

    Naaktheid in kuns bied 'n platform vir die ondersoek van seksueel en estetiese aansien, maar dikwels gereed om aan die manlike blik te voldoen.

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  • 00:00:02
    men dream of women women dream of
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    themselves being dreamt of men look at
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    women women watch themselves being
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    looked at
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    [Music]
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    [Music]
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    women constantly meet glances which act
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    like mirrors reminding them of how they
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    look or how they should know
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    behind every glance is a judgment
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    sometimes the glance they meet is their
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    own reflected back from a real man
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    [Music]
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    [Music]
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    [Music]
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    a woman is always accompanied except
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    when quite alone perhaps even then by
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    her own image of herself while she is
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    walking across a room or weeping at the
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    death of her father she cannot avoid
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    envisaging herself walking or weeping
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    from earliest childhood she is taught
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    and persuaded to survey herself
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    continually she has to survey everything
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    she is and everything she does
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    because how she appears to others and
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    particularly how she appears to men is
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    of crucial importance what is normally
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    thought of as the success of her life
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    [Music]
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    a woman in the culture of privileged
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    Europeans is first and foremost a sight
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    to be looked at what kind of sight is
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    revealed in the average European oil
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    painting there were portraits of women
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    as a reporter's of men but in one
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    category of painting women were the
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    principal ever occurring subject that
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    category was the nude in the nudes of
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    European painting we can discover some
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    of the criteria and conventions by which
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    women were judged we can see how women
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    was seen what then is a nude
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    in his book on the nude Kenneth Clark
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    says that being naked is simply being
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    without clothes the nude according to
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    him is a form of art I would put it
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    differently to be naked is to be oneself
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    to be nude is to be seen naked by others
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    and yet not recognized for oneself a
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    nude has to be seen as an object in
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    order to be a nude in the European oil
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    painting nakedness is not taken for
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    granted as in archaic art nakedness is a
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    sight for those who are dressed that is
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    why manna is painting which really marks
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    the end of the period I'm considering is
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    so profound the comment on all the works
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    which preceded it the story begins with
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    the story of Adam and Eve as told in
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    Genesis and when the woman saw that the
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    tree was good for food and it was a
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    delight to the eyes and that the tree
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    was to be desired to make one wise she
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    took of the fruit thereof and did eat
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    and she gave also unto her husband with
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    her and he did eat and the eyes of them
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    both were opened and they knew that they
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    were naked and the Lord God called unto
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    the man and said unto Him where art thou
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    and he said I heard thy voice in the
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    garden and I was afraid because I was
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    naked and I hid myself under the woman
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    God said I will greatly multiply thy
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    sorrow and thy conception in sorrow thou
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    shalt bring forth children and thy
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    desire shall be to thy husband and he
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    shall rule over thee two things are
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    striking about this story they become
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    aware of being naked because as a result
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    of eating the Apple each sees the other
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    differently nakedness is created in the
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    mind of the beholder
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    the second striking fact is that the
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    woman is blamed and is punished by being
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    made subservient to the man in relation
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    to the woman the man becomes the agent
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    of God
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    in medieval art the story is often
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    illustrated seen following seen as in a
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    strip cartoon during the Renaissance the
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    narrative sequence disappears and the
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    single moment which is nadir always
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    depicted is the moment of shame the
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    couple wear fig leaves or make a modest
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    gesture with their hands but now their
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    shame is not so much in relation to one
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    another as to the spectator it is the
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    spectators looking which shames them
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    later as painting became more secular
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    many other subjects offered the
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    opportunity of painting nudes but always
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    in the European tradition the nude
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    implies an awareness of being seen by
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    the spectator they are not naked as they
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    are they are naked as you see them
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    often as with a favorite subject of
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    Susana and the elders this is the actual
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    theme of the picture we join the elders
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    to spy on her she looks back at us
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    looking at her sometimes the woman
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    Susana looks at herself in a mirror
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    picturing to herself how men see her she
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    sees herself first and foremost as a
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    sight which means a sight for men
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    thus the Miller became a symbol of the
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    vanity of women yet the male hypocrisy
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    in this is blatant you paint a naked
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    woman because you enjoy looking at her
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    you put a mirror in her hand and you
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    call the painting vanity thus morally
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    condemning the woman whose nakedness you
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    have depicted for your own pleasure and
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    thus incidentally repeating the biblical
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    example by blaming the woman the
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    judgment of Paris was another favorite
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    mythological subject with the same in
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    written idea of men looking at naked
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    women and judging them Paris Awards the
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    Apple to the woman he finds most
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    beautiful beauty in this context is
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    bound to become competitive the judgment
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    of Paris is transformed into the beauty
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    contest aesthetics when applied to women
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    are not as disinterested as the word
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    Beauty might suggest I don't want to
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    deny the crucial part that seeing plays
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    in sexuality but there's a great
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    difference between being seen as oneself
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    naked or seeing another in that way and
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    a body being put on display to be naked
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    is to be without disguise to be on
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    display is to have the surface of one's
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    own skin the hairs of one's own body
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    turned into a disguise a disguise which
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    cannot be discarded amongst the tens of
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    thousands of European oil paintings of
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    nudes there are perhaps twenty or thirty
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    exceptions paintings in which the artist
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    has seen the woman revealed as herself
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    this Rubens this Rembrandt
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    this George de la tour these paintings
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    are as personal as love to hymns and
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    their character is quite distinctive
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    most nudes in oil paintings have been
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    lined up by their painters for the
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    pleasure of the male spectator owner who
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    will assess and judge them as sites
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    their nudity is another form of dress
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    they are condemned to never be naked
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    with their clothes off they are as
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    formal as with their clothes on those
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    who are not judged beautiful are not
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    beautiful
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    those who are are given the prize the
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    prize is to be owned that is to say to
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    be available charles ii commissioned
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    this secret painting from laylee it's
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    like hundreds of others it might be
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    Venus and Cupid but in fact it was a
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    portrait of one of his mistresses nell
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    gwyn it shows how passively looking at
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    the spectator staring at her naked her
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    nakedness is not an expression of her
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    own feelings it is only a sign of her
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    submission to his demand the painting
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    when he shows it to others demonstrates
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    this submission his guests envied him by
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    contrast in another tradition nakedness
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    is a celebration of active sexual love
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    as between two people the woman as
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    active as the man the actions of each
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    absorbed the other in oil painting the
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    second person or the second person who
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    matters is the stranger looking at the
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    picture compare the expression of these
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    two women one the model for what is
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    considered a masterpiece by Aang and the
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    other a nil paid model for a photograph
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    in a girly magazine or these two
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    just the expression the look what do you
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    see it seems to me that in each pair the
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    expression is remarkably similar and
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    that it is an expression of responding
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    with calculated charm to the man whom
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    she knows is looking at her although she
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    doesn't know him it is true that
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    sometimes a painting includes a male
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    lover but the woman's attention is very
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    rarely directed towards him she looks
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    away from him or she looks out of the
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    picture towards he who considers himself
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    a true lover the spectator owner this
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    painting was sent as a present from the
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    Grand Duke of lanced the King of France
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    the boy kneeling on the cushion and
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    kissing the woman is Cupid she's Venus
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    but the way her body is arranged has
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    nothing to do with that kissing her body
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    is arranged in the way it is to display
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    it to the man looking at the picture the
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    picture is made to appeal to his
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    sexuality it has nothing to do with her
  • 00:12:35
    sexuality the convention of not painting
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    the hair on a woman's body helps towards
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    the same end hair is associated with
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    sexual par with passion the woman sex or
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    passion needs to be minimized so that
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    the spectator may feel that he has the
  • 00:12:50
    monopoly of such passion there were
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    paintings which depicted male lovers
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    sees that exist but they were mostly
  • 00:12:57
    private semi-pro no graphic pictures in
  • 00:13:00
    most paintings which were painted to be
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    seen rather than hidden the only rival
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    to the male spectator is a cupid and how
  • 00:13:09
    extraordinary it is that the pictorial
  • 00:13:11
    symbol of passion was a small boy for a
  • 00:13:15
    similar reason women in the European art
  • 00:13:17
    of the oil painting are seldom shown
  • 00:13:20
    dancing they have to be shown language
  • 00:13:22
    exhibiting a minimum energy they are
  • 00:13:26
    there to feed an appetite not to have
  • 00:13:28
    any of their own the appetite was
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    theoretically gargantuan
  • 00:13:36
    the absurdity of this male flattery
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    although it was not seen as absurd then
  • 00:13:41
    reached its peak in the public academic
  • 00:13:44
    art of the 19th century
  • 00:13:46
    prime ministers discussed under
  • 00:13:48
    paintings like this when one of them
  • 00:13:50
    felt he had been outwitted he looked up
  • 00:13:53
    for consolation the nude in European oil
  • 00:13:58
    painting is usually presented as an
  • 00:14:00
    ideal subject it is said to be an
  • 00:14:03
    expression of the European humanists to
  • 00:14:05
    it
  • 00:14:06
    I don't want to reject entirely the
  • 00:14:08
    truth of this but I've tried to add to
  • 00:14:11
    it starting off from a different
  • 00:14:12
    viewpoint dealer who believed in the
  • 00:14:16
    ideal nude thought that this ideal could
  • 00:14:20
    be constructed by taking the shoulders
  • 00:14:22
    of one body the hands of another the
  • 00:14:25
    breasts of another and so on was this
  • 00:14:28
    humanist idealism or was it the result
  • 00:14:32
    of an indifference to who any one person
  • 00:14:34
    really was do these paintings celebrate
  • 00:14:38
    as we're normally taught the women
  • 00:14:41
    within them or the male wire is their
  • 00:14:46
    sexuality within the frame or in front
  • 00:14:50
    of it I showed the program as you have
  • 00:14:54
    seen it up till now to five women it
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    began to seem absurd that the only
  • 00:14:58
    images you were seeing were of women
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    silent mute so I showed it to them and
  • 00:15:04
    asked them to comment to comment not so
  • 00:15:06
    much on the program but rather on the
  • 00:15:07
    questions raised by it above all on the
  • 00:15:10
    question of how men see women or have
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    seen them in the past and how this
  • 00:15:14
    influences the way women see themselves
  • 00:15:16
    today we have an image of course we all
  • 00:15:19
    have an image of ourselves and it's a
  • 00:15:21
    visual image but I wonder how much this
  • 00:15:25
    sort of classical European painting has
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    shaped that image in my own case I find
  • 00:15:31
    it quite impossible when I look at the
  • 00:15:33
    paintings that you show in your film I
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    can't take them seriously I cannot
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    identify with them because they are so
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    immensely exaggerated always you know
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    they fasten onto some secondary sexual
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    characteristics
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    Bres sort of great big bee sting bottoms
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    you know and those huge things like that
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    and they just aren't real whereas with
  • 00:15:55
    photographs you you can you can feel
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    that is potentially that's possibly me
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    although it probably isn't but these
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    these nearly all the paintings you have
  • 00:16:06
    shown are what is called idealized and
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    therefore they are to me very unreal in
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    connection with with any deep down image
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    that I might have of myself and in
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    connection with any deep down pleasure
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    that I might have in looking at another
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    female body they don't give me that
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    again pleasure at all can admire them as
  • 00:16:30
    painting but they are they don't mean
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    human beings to me the image that I
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    compare myself with is the photograph
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    because it's with photographs that I've
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    been encouraged to think of myself in
  • 00:16:43
    this way it is essentially advertising
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    for me that's contributed to this and
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    consequently I find it extremely
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    interesting to go back and think of
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    nudes in this way because I've never
  • 00:16:53
    done sit but having seen the film I have
  • 00:16:55
    no doubt that the same thing applies and
  • 00:16:58
    do you find that the new it's in
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    painting under the other in the same way
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    yes well you can't get any information
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    from it it's no guide towards
  • 00:17:11
    information is lacking
  • 00:17:13
    oh well activity you know dynamism
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    anything it is how someone sees you and
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    that's all it's something laid upon you
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    I'm glad you showed them any picture
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    because I always find is extremely
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    shocking and because the men addressed
  • 00:17:30
    and I love women are naked and this
  • 00:17:32
    seems to me sum up the whole situation
  • 00:17:33
    it's a humiliating position and these
  • 00:17:36
    women are aware of being humiliated and
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    I think this is part of the whole scheme
  • 00:17:40
    of things I mean I think most people
  • 00:17:42
    have had and some station in life it's
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    all nightmares about running sort of
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    speaks with nothing
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    in everybody else's list and this seems
  • 00:17:50
    to me one element in the pictures a very
  • 00:17:53
    interesting thing you said in the film
  • 00:17:54
    was about how nudity was really a kind
  • 00:17:59
    of disguise it wasn't the real person
  • 00:18:02
    themselves and free but it was just
  • 00:18:05
    another garment they were wearing and
  • 00:18:07
    worse than a garment in the sense
  • 00:18:08
    because something that you can't take
  • 00:18:10
    off this comes I think from nudity being
  • 00:18:14
    combined with a pose and that's
  • 00:18:16
    inevitable if you're going to have a
  • 00:18:18
    painting of a model in a way I think
  • 00:18:25
    that we're always dressing we're always
  • 00:18:28
    dressing up for a part always putting on
  • 00:18:32
    a uniform of one kind or another and I
  • 00:18:34
    think women do this almost more than men
  • 00:18:35
    men have only begun doing it fairly
  • 00:18:37
    recently women are always dressing to
  • 00:18:40
    show the kind of character that they
  • 00:18:42
    want to represent the mother the working
  • 00:18:45
    woman the pretty young chick and nudity
  • 00:18:49
    is a uniform in a way for I'm ready now
  • 00:18:54
    for sexual pleasure you see and so it
  • 00:18:57
    doesn't you you can't come you can't
  • 00:19:00
    identify being nude with being free I've
  • 00:19:03
    only just recently read that book he's
  • 00:19:06
    12 dull which describes some way in
  • 00:19:09
    which a woman is reduced for the sexual
  • 00:19:12
    pleasure of the man she's in love with
  • 00:19:13
    to a complete object and what struck me
  • 00:19:15
    in all that book as the most impressive
  • 00:19:18
    image was the fact that she was told
  • 00:19:21
    that she was never to touch her own
  • 00:19:24
    breasts to entirely close her mouth or
  • 00:19:26
    too close or to put her legs together
  • 00:19:29
    and so the whole point about her stance
  • 00:19:32
    all the time was it she was available
  • 00:19:33
    and this the sense of being available
  • 00:19:36
    the sense of waiting for other people is
  • 00:19:39
    a very antithesis of action and it you
  • 00:19:42
    know just like the whole the the Brook
  • 00:19:45
    Street Bureau advertisement Tony hasn't
  • 00:19:47
    rung you know he's three minutes late
  • 00:19:48
    and ringing and you feel this whole
  • 00:19:50
    situation the number women you talk to
  • 00:19:52
    who say I stay in so many nights a week
  • 00:19:54
    waiting for somebody to ring that the
  • 00:19:56
    the concept of availability implies
  • 00:19:59
    passivity
  • 00:20:00
    because if you're simply waiting for
  • 00:20:01
    somebody else to act then you contact
  • 00:20:02
    yourself yes it's it's like um you will
  • 00:20:06
    awake when a man taps you you know that
  • 00:20:11
    but really it's an excuse to get
  • 00:20:15
    yourself going I think I'm gonna - I
  • 00:20:20
    know they're waiting too long yes yes
  • 00:20:25
    could I say something there but
  • 00:20:27
    narcissism I think that both men and
  • 00:20:30
    women are narcissistic but in different
  • 00:20:32
    senses and I think that one in sometimes
  • 00:20:37
    I have the impression that men and women
  • 00:20:39
    are tremendously narcissistic and cut
  • 00:20:42
    off from each other by their images of
  • 00:20:44
    themselves but that whereas a woman's
  • 00:20:46
    image of herself is derived directly
  • 00:20:50
    from other people the mirror you're
  • 00:20:52
    talking about a man's image of himself
  • 00:20:54
    is derived from the world that is it's
  • 00:20:58
    the world that gives him back his image
  • 00:21:00
    because he acts in it and you know women
  • 00:21:04
    are drawn to him as a source a central
  • 00:21:07
    activity and as a source of worth I mean
  • 00:21:11
    since he is in the world the fact that
  • 00:21:13
    he values her is important and so
  • 00:21:17
    because they're sort of centers of
  • 00:21:18
    narcissism are different and the woman's
  • 00:21:22
    is essentially only related to the other
  • 00:21:24
    person she's having much more passive
  • 00:21:26
    position than years yes do you see do
  • 00:21:32
    you see narcissism as essentially a and
  • 00:21:35
    a negative or positive well I think
  • 00:21:42
    that's very difficult to answer but in
  • 00:21:44
    the sense that it is related to identity
  • 00:21:48
    it's a positive phenomenon and it seems
  • 00:21:51
    to me that what women envy and men a lot
  • 00:21:53
    of the time is that they have a sense of
  • 00:21:54
    their own identity that there is
  • 00:21:56
    something in them which is important to
  • 00:21:58
    them other than simply what other people
  • 00:22:01
    think of them and I think that that
  • 00:22:02
    thing is the product of their
  • 00:22:05
    interaction with the world that is
  • 00:22:07
    things and other people and it's sort of
  • 00:22:09
    it's almost as if through this
  • 00:22:11
    interaction they actually build up a
  • 00:22:12
    store of worth a sense of themselves
  • 00:22:18
    which which is a constant I mean it
  • 00:22:20
    can't be lost but that because the woman
  • 00:22:22
    doesn't go out and act she doesn't
  • 00:22:24
    create the store she waits only for the
  • 00:22:27
    present interaction with a man that and
  • 00:22:30
    that can go that can just end at any
  • 00:22:32
    moment pronounced way of stating a
  • 00:22:51
    relationship but this other question
  • 00:22:58
    which is contained within it as far as
  • 00:23:02
    it doesn't idea is this sort of self
  • 00:23:07
    delight of a person whether it's a man
  • 00:23:10
    or woman in life in what they're doing
  • 00:23:15
    in their relationships with men or women
  • 00:23:19
    and it's a thing that matters
  • 00:23:23
    tremendously and it's not only a kind of
  • 00:23:27
    inner thing I quit you live but it's a
  • 00:23:31
    very outer thing by which you gain
  • 00:23:35
    relationships with your own context in
  • 00:23:39
    the world that you can't gain any other
  • 00:23:41
    way that it's when you have somehow been
  • 00:23:46
    made some conscious of yourself that you
  • 00:23:50
    easily naturally sort of compulsively go
  • 00:23:54
    out to whatever is going on around you
  • 00:23:57
    now we're not a child
  • 00:23:59
    that tends northern with people to be
  • 00:24:03
    other things doesn't it mountain streams
  • 00:24:08
    wherever you go
  • 00:24:11
    and then only
  • 00:24:14
    as you make this kind of absolutely
  • 00:24:21
    necessary contact with people but I do
  • 00:24:26
    think that the sort of essence self
  • 00:24:31
    denied as a kind of possible thing in
  • 00:24:35
    the modern world and something that
  • 00:24:37
    fewer women have the men and won't a
  • 00:24:40
    master is the power the compulsion not
  • 00:24:45
    the power the compulsion to make contact
  • 00:24:50
    with the world as you are living in it
  • 00:24:52
    when I say that I don't just mean the
  • 00:24:54
    people next door are your friends I
  • 00:24:56
    simply mean what is going on I'm not so
  • 00:25:02
    sure about the delight I think it's a
  • 00:25:04
    very double-edged thing I know as I
  • 00:25:08
    suppose I've always known but I became
  • 00:25:09
    aware of it then his film I have never
  • 00:25:11
    consciously looked at myself in the
  • 00:25:13
    mirror and seen myself as I am I always
  • 00:25:16
    see the image that I want I know and my
  • 00:25:19
    children notice it that if I make up my
  • 00:25:21
    face I put on a certain expression if I
  • 00:25:23
    from adolescence on if I've seen myself
  • 00:25:26
    naked in the mirror I have not thought
  • 00:25:28
    of myself naked I have thought of myself
  • 00:25:29
    as a nude and I think this comes very
  • 00:25:32
    largely from having being trailed around
  • 00:25:34
    all the major art galleries in
  • 00:25:35
    adolescence you know this is culture
  • 00:25:37
    this is beauty the capital B and of
  • 00:25:41
    course up to a point from advertising to
  • 00:25:43
    but much more the painting thing that
  • 00:25:46
    you use you think the female body is
  • 00:25:50
    beautiful I am a beautiful object if not
  • 00:25:52
    I have to do something about it and
  • 00:25:55
    therefore the painful part of the
  • 00:25:57
    narcissistic thing is I think the
  • 00:25:59
    feeling of inadequacy now this business
  • 00:26:03
    of always posing in a mirror I think one
  • 00:26:06
    does absolutely automatically and the
  • 00:26:08
    result is that if you actually catch
  • 00:26:10
    yourself in a mirror by chance
  • 00:26:13
    that's not deliberately because you're
  • 00:26:15
    getting dressed or something I've had a
  • 00:26:16
    bath but because there's one in the
  • 00:26:18
    street we would catch yourself in a shop
  • 00:26:21
    window it's a tremendous shock because
  • 00:26:23
    you suddenly see yourself as you are
  • 00:26:24
    which is windblown untidy badly
  • 00:26:27
    just tired and so on you don't see the
  • 00:26:30
    pose at all and I think this is what
  • 00:26:32
    happens to women that they're always
  • 00:26:34
    trying to measure up to this erotic
  • 00:26:36
    image that is projected that there are
  • 00:26:40
    some paintings and I think at this
  • 00:26:42
    moment in particular of one painting
  • 00:26:44
    well there's a woman who is wearing a
  • 00:26:46
    garment she's not nude but it is a
  • 00:26:48
    garment so loose so comfortable so easy
  • 00:26:53
    and it's my idea very much of what a
  • 00:27:00
    picture of a woman might be like it I
  • 00:27:02
    think it's actually before your period
  • 00:27:04
    almost it's so long ago I mean zips by
  • 00:27:06
    Lorenzetti it comes in the good and bad
  • 00:27:08
    government it's a fresco it's very very
  • 00:27:11
    old you know and it is a picture of a
  • 00:27:13
    woman who is supposed to represent peace
  • 00:27:15
    it's quite extraordinary but she could
  • 00:27:17
    be one of the liberators or trying to be
  • 00:27:20
    liberated young women today she is a
  • 00:27:23
    tease she is relaxed she is not playing
  • 00:27:26
    any part at all she is able to combine
  • 00:27:31
    pleasure with thoughts and with dreaming
  • 00:27:35
    and she's she might spring into action
  • 00:27:38
    at any moment
  • 00:27:39
    and I think for me she has much much
  • 00:27:43
    more to do with with with nakedness with
  • 00:27:47
    oneself with the truth about oneself
  • 00:27:50
    than any number of nudes as I've ever
  • 00:27:51
    seen
  • 00:27:55
    [Music]
  • 00:28:03
    and the third part of ways of seeing is
  • 00:28:06
    here at the same time tomorrow next
  • 00:28:08
    tonight Andrew Graham Dixon is at the
  • 00:28:10
    Tate Modern for an exhibition by max
  • 00:28:12
    Beckman
  • 00:28:14
    [Music]
  • 00:28:26
    in ting we can discover some of the
  • 00:28:29
    criteria and conventions by which women
  • 00:28:32
    were judged we can see how women was
  • 00:28:34
    seen what then is a nude
  • 00:28:44
    in his book on the nude Kenneth Clark
  • 00:28:47
    says that being naked is simply being
  • 00:28:50
    without clothes the nude according to
  • 00:28:53
    him is a form of art I would put it
  • 00:28:58
    differently to be naked is to be oneself
  • 00:29:02
    to be nude is to be seen naked by others
  • 00:29:06
    and yet not recognized for oneself a
  • 00:29:09
    nude has to be seen as an object in
  • 00:29:13
    order to be a nude in the European oil
  • 00:29:17
    painting nakedness is not taken for
  • 00:29:19
    granted men dream of women women dream
  • 00:29:26
    of themselves being dreamt of men look
  • 00:29:30
    at women women watch themselves being
  • 00:29:32
    looked at
  • 00:29:38
    [Music]
  • 00:30:06
    [Music]
  • 00:30:08
    women constantly meet glances which act
  • 00:30:11
    like mirrors reminding them of how they
  • 00:30:13
    look or how they should know
  • 00:30:45
    a woman is always a company to accept
  • 00:30:48
    when quite alone perhaps even then by
  • 00:30:51
    her own image of herself while she is
  • 00:30:54
    walking across a room or weeping at the
  • 00:30:56
    death of her father she cannot avoid
  • 00:30:59
    envisaging herself walking or weeping
  • 00:31:02
    from earliest childhood she is taught
  • 00:31:04
    and persuaded to survey herself
  • 00:31:06
    continually she has to survey everything
  • 00:31:10
    she is and everything she does
  • 00:31:12
    because how she appears to others and
  • 00:31:14
    particularly how she appears to men is
  • 00:31:16
    of crucial importance what is normally
  • 00:31:19
    thought of as the success of her life
  • 00:31:26
    [Music]
  • 00:31:35
    a woman in the culture of privileged
  • 00:31:43
    Europeans is first and foremost a sight
  • 00:31:46
    to be looked at what kind of sight is
  • 00:31:49
    revealed in the average European oil
  • 00:31:52
    painting there were portraits of women
  • 00:31:54
    as a reporter's of men but in one
  • 00:31:56
    category of painting women were the
  • 00:31:58
    principal ever occurring subject that
  • 00:32:02
    category was the nude in the nudes of
  • 00:32:05
    European paper behind every glance is a
  • 00:32:08
    judgment sometimes the glance they meet
  • 00:32:11
    is their own reflected back from a real
  • 00:32:14
    now
  • 00:32:26
    [Music]
  • 00:32:37
    [Music]
  • 00:32:54
    [Music]
タグ
  • vroue
  • naakheid
  • kunsgeskiedenis
  • manlike blik
  • selfbeeld
  • genderstudies
  • europese kuns
  • teksanalise
  • stereotipes
  • sosiale kritiek