The top two paintings on the left-hand page show crowded scenes of nobility from two different historical periods: one depicting a decadent Roman feast, the other, a Parisian salon. The following spread includes numerous paintings of diverse subjects matter. The image on the top right is the only one without animal subjects in it, a noble-looking family is painted against the backdrop of a luxurious garden (which ostensibly belongs to them). The six paintings on the left-hand side primarily depict household pets the four on the right show horses.
#JOHN BERGER WAYS OF SEEING CHAPTER 5 FULL#
The next page is full of oil paintings of animals. For the first time in the book, images spill across both pages, severed in the middle by the fold of the book's spine.
The following two pages are populated by several oil paintings of domestic scenes: a family at the table, women in the kitchen, a man in a bedroom, and a cluster of figures leaned over a pot, either cooking or alchemizing. The child in the second portrait averts his gaze, looking happily off into the distance. The first child looks distraught, gazing uncomfortably up at the viewer. Both appear to be portraits of children, depicted from the waist up. The next spread contains only two images, one on each page. Across from these images, we see two portraits of noble-looking white figures being assisted by black people, and a portrait of two black men below that. In the second painting, slaves are being sold on one side of the auction house while paintings are being sold on the other. On the next page, an oil painting of a wealthy white woman being dressed by two black women-ostensibly servants-appears above another oil painting of a slave auction.
#JOHN BERGER WAYS OF SEEING CHAPTER 5 SERIES#
One painting dominates the opposite page: two figures, more abstract than most of what we've seen before, surrounded by a series of swirls rather than a distinct background. Below that, in Pity, one figure looks down at another, apparently dead, from amidst a sea of abstract figures resembling both waves and horses. In the first, three nude females stand together, with the lightest-skinned woman in front, held up by the other two. All appear to be oil paintings of various styles. The first spread shows us three paintings: Europe Supported by Africa and America, Pity, and Mildew Blighting Ears of Corn. Chapter 6 is the final essay in the book to use only images.
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