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Landscapes: John Berger on Art, by John Berger
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A major new work from the world’s leading writer on art
As leading radical writer on art John Berger celebrates his ninetieth year, he brings a lifetime's engagement with the ideas, artists, and thinkers that have shaped his thinking: Walter Benjamin, Rosa Luxemburg and Bertolt Brecht among them. In Landscapes Berger allows us to see the evolution of his own way of seeing. He explores the relationship between creativity and politics and the revolutionary potential of art through a series of different forms.
As always, in this book, Berger pushes at the limits of art writing, demonstrating beautifully how his painter’s eyes lead him to refer to himself only as a storyteller. A landscape is, to John Berger, like a portrait, an animating, liberating metaphor rather than a rigid definition. Landscapes offers a tour of the history of art, but not as you know it.
Landscapes brings together Berger's most penetrating insights into how we may engage with both art and the artist in society.
- Sales Rank: #26264 in Books
- Published on: 2016-11-01
- Released on: 2016-11-01
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 1.00" w x 6.30" l, 1.25 pounds
- Binding: Hardcover
- 272 pages
Review
“Berger is a masterful observer, a trait that lends his writing a profound element of artistry: these essays read like sketched studies of an as-yet-painted masterwork … these worldly essays are timeless, inspiring works of critical observation.”
—Kirkus
“Rich, with a broad, pluralistic approach and collaborative ethos.”
—The Art Newspaper
Praise for John Berger:
“John Berger teaches us how to think, how to feel how to stare at things until we see what we thought wasn’t there. But above all, he teaches us how to love in the face of adversity. He is a master.”
—Arundhati Roy, author of The God of Small Things
“I admire and love John Berger’s books … Not since Lawrence has there been a writer who offers such attentiveness to the sensual world with responsiveness to the imperatives of conscience. He is a wonderful artist and thinker.”
—Susan Sontag
“One of the most influential intellectuals of our time.”
—Sean O’Hagan, Observer
“Berger is a writer one demands to know more about … an intriguing and powerful mind and talent.”
—New York Times
About the Author
Storyteller, novelist, essayist, screenwriter, dramatist and critic, John Berger is one of the most internationally influential writers of the last fifty years. His many books include Ways of Seeing, the fiction trilogy Into Their Labours, Here Is Where We Meet, the Booker Prize winning novel G, Hold Everything Dear, the Man Booker–long-listed From A to X and A Seventh Man.
Tom Overton catalogued John Berger’s archive at the British Library. He has curated exhibitions at King’s Cultural Institute, Somerset House and the Whitechapel Gallery, and his writing has been published by the LRB blog, New Statesman, Apollo, White Review, Various Small Fires, Tate, the British Council and others.
Most helpful customer reviews
4 of 4 people found the following review helpful.
A collection of autobiographical essays by John Berger describing his lifelong experience with art.
By pixels and bits
This is a collection of essays by John Berger that have been previously published over the duration of his lifetime. It has been collected and edited by Tom Overton, who has cataloged John Berger's archive at the British Library. These essays were chosen to describe Berger's attitudes and relationship with art. Most of the essays are just a few pages long and span his entire lifetime. As a collection, they serve as an autobiographical biography of this influential and prolific writer.
Essentially, this is a message about noticing details and the elements of story and the expression of art. Of being able to describe environment and the story behind it, developing its history. One of my favorites is a short little essay collected in a small chapter called Ten Dispatches about Place. In it he describes the landscape of a group of four burros with so much clarity that it seems like it was painted on canvas. So many of the articles and stories in this collection evoke imagery in this way.
Because Amazon's listing does not note the contents of the collection, I have provided the following as a courtesy to those who may be seeking specific information.:
Part 1: Redrawing the Maps
1. Krakow
2. To Take Paper, to Draw
3. The Basis of All Painting and Sculpture is Drawing
4. Frederick Antal - A Personal Tribute
5. An Address to Danish Worker Actors on the Art of Observation, Translated by Anya Bostock and John Berger
6. Revolutionary Undoing: On Max Raphael's The Demands of Art
7. Antiquarian and Revolutionary: Walter Benjamin
8. The Storyteller
9. Ernst Fischer: A Philosopher and Death
10. Gabriel Garcia Marquez: The Secretary of Death Reads it Back
11. Roland Barthes: Inside the Mask
12. Following on a Joycean Tide
13. A Gift for Rosa Luxemburg
14. The Ideal Critic and the Fighting Critic
Part 2: Terrain
15. The Clarity of the Rennaissance
16. A View of Delft
17. The Dilemma of the Romantics
18. The Victorian Conscience
19. The Moment of Cubism
20. Parade and the Beginning of Surrealism
21. Judgement on Paris
22. Soviet Aesthetic
23. The Biennale
24. Art and Property Now
25. No More Portraits
26. The Historical Function of the Museum
27. The Work of Art
28. 1968/1979 Preface to Permanent Red (1960)
29. Historical Afterword to the Into Their Labours Trilogy
30. The White Bird
31. The Soul and the Operator
32. The Third Week of August, 1991
33. Ten Dispatches about Place (June 2005)
34. Stones (Palestine, June 2003)
35. Meanwhile
Acknowledgements
3 of 3 people found the following review helpful.
Rocky, with some sharp declivities…
By John P. Jones III
I feel quite deficient when looking at paintings. No training in art; no wise mentor who has befriended me. I only have a rudimentary idea of what to consider. And of the varying fields of endeavor, I find art to be the hardest nut to crack on one’s own. Books on electrical wiring, for example, are comprehensible and instructive. Art criticism, on the other hand, is so often pretentious, and deliberately opaque… and there is this nagging suspicion the critic is just putting us on. Berger himself, in his critic of art museum curators, rebukes them for their elitist attitude towards the unwashed masses who view the art displayed. Nonetheless, I keep trying, and so when Vine offered me this collection of essays, I decided to try one more time.
John Berger was born 1926, and won the Booker Prize in 1972 for Ways of Seeing: Based on the BBC Television Series. This is a collection of 36 essays, described by editor Tom Overton as: “…offer(ing) a tour of the history of art, but not as you know it.” Which may be a major understatement. It seemed to me that around 10 essays had absolutely nothing to do with art, “as I know it,” but rather involved the fall of the Berlin Wall, the subsequent transformations in Eastern Europe, the stones of Palestine, and a theory of the peasant class, to name a few. The lead essay involves the author’s youthful relationship with a New Zealander, Ken, and their involvement with Krakow, Poland. “On Art” as the subtitle indicates? Hum! Absolutely the most frustrating part for me was the absence of a date indicating when the essay was written. They seemed to have been grabbed from a bottom drawer, willy-nilly. In one essay, Berger says that the peasant “class” will no longer exist in Europe in 25 years. But 25 years from when? In reading another essay, it was apparent that it was written in 1960, yet others appear to have been written within the last few years.
Berger is a Marxist, as he proclaims in the essay, “Ten Dispatches about Place,” for the 10th dispatch is a single sentence: “Yes, I’m still amongst other things a Marxist.” Again, at what date, or is it now? Of course, the reader might have derived this information on their own from the essay “Historical Afterword Into Their Labours Trilogy” from such sentences as: “Peasant conservatism, within the context of peasant experience, has nothing in common with the conservatism of a privileged ruling class or the conservatism of a sycophantic petty-bourgeoisie.” Art history and theory seems to be difficult enough on its own, but when viewed through a “Marxist dialectic,” well…
With all that said, there are some good individual essays on notables in the field. These include Frederick Antal, Max Raphael, Walter Benjamin, Ernest Fischer, and Rosa Luxemburg. This series reminded me of Clive James Cultural Amnesia: Necessary Memories from History and the Arts. One of the longer essays concerned Cubism, and its connection with other scientific and technological advances before the First World War. His most scathing criticism is reserved for art museum curators who he describes: “…but as a professional group their character is patronizing, snobbish, and lazy… (they have) the notion that they have been asked to accept as a grave civic responsibility the prestige accruing from the ownership of the works under their roof.”
I too share many of his concerns about consumerism, and the impact of megabucks searching for unique “prestige” in ownership of art. And I admire his decision to live in a small village in Haute Savoie, and write an essay on their artwork produced in the winter, described in the essay “The White Bird.” Overall, for this eclectic collection of essays on the human condition, of which art is one subset, 3-stars.
3 of 3 people found the following review helpful.
"Landscapes" is a metapor--This is a book of John Berger's essays, a "landscape" of his life & ideas about writing, art & more
By Elisa 20
(Review based on paperback ARC not the hardback--no way to evaluate price of HB or final appearance as a result)
I ordered this without any familiarity with John Berger. I saw he was described as a Marxist art critic and that he'd written several other books about art, including the similarly named "Portraits". That book, apparently is a look at the history of art with some inspiration for the journey coming from portraits. Unfortunately, reading about it, I was dismayed that the portraits were not actually shown in the book, other than as small black and white reproductions. I thought, "If a book about art history through landscape painting doesn't show the actual colors, etc. to get an idea of the original, I will be very dissatisfied with the book." How can you write about the history of art through landscape painting and not show the paintings? Imo, really, you shouldn't do that.
So when this copy came--6x9", small format to show paintings--I was relieved to see there are NO paintings reproduced in here, not as black and white photos or otherwise. This is a collection of essay, a "landscape" of Berger's thoughts on his life, people, ideas that have influenced him, writing/authors he liked and disliked and, of course, art. (I don't understand the reviewer who said it combines drawings and text. Believe me, there are essays here, and not drawings. It's a book of essays, with thoughts about many things, many aspects of art both written and visual--but there are no pictures and it would seem very odd if there were.)
I began, dutifully, with the introduction by Tom Overton. It prepared me for a book of criticism and was not an easy read. It reminded me how many years its been since I read much literary criticism. (It also reminded me that I haven't missed it.) I prepared myself for Berger's work to be more of the same.
Surprise! From the first words of his first chapter, I had a pleasant surprise--John Berger's a good writer who uses fiction techniques (including a narrative, anecdotes, vivid descriptions, characterization) in his essays. It turns out that Berger was a painter and writer until he was thirty and, in the years that followed, concentrated on writing--both fiction and non-fiction, in the latter becoming particularly well known as a critic. Don't be put off by the introduction by someone else. Berger himself is a very good writer.
These essays are interesting, scattershot through the years now collected together here, rather than being written as chapters to develop a topic or theme for a cohesively-themed book. I liked this actually, because it offered variety in both topic and tone. It's kind of a landscape--bits and pieces of different things to observe whether important people (good and bad) influencing his life (e.g. an important childhood friend, his overbearing father, a friend's suicide). He spends time with writers who influenced him (Joyce, Barthes, Marquez and others) and how, though always in a kind of "I'm telling you a story" narrative rather than a preachy one. A lot is about literature, but he writes about art and artists, too (Picasso & Braque, some from the Renaissance, the Romantics, others). Also travels and people he has met in the course of them.
As a photographer, I enjoyed the chapter "No More Portraits". To my surprise, I also enjoyed some of the quirky essay topics like "The Historical Function of the Museum". It sounds dry, but he took on the modern curators in a way that will antagonize them (but was fun to read--and may even be true). There's a lot to get out of this book that may send you looking up more about a person or topic (Rosa Luxemburg, Walter Benjamin, Berthold Brecht. He identifies himself as a Marxist but has many critical reflections on Soviet art--not a cliché.)
All in all, a well written collection of essays that could propel any interested person in a variety of directions as a result of the reading..
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