I think you're both wrong and greatly suffering from hubris-fever.  The is a 
dialectical relationship between the view of art as art and art as culture.  
These two positions need to be continually negotiated.  The best artists and 
critics have always recognized that.  A great portrait is a universalist 
symbol; it suggests something shared by all people through the lens of a 
particular culture and time. All paintings are such fusions and in that respect 
all a paintings are portraits.
wc


----- Original Message ----
From: Chris Miller <[email protected]>
To: [email protected]
Sent: Sat, February 20, 2010 9:56:38 AM
Subject: Quitting Berger

OK, I admit it, I've given up on Berger. (the urge to pick him up again has
just never returned)

Having suffered through the early chapters about his psycho-analytic theory of
posing, I had been looking forward to a discussion of actual paintings and
their historical context.

But Berger's absurd pre-occupation with posing (including his own) undermines
the value of that presentation, and I  would much rather go directly to the
history books.

Cheerskep had it right from the very beginning:


"The pose was NOT usually a product of the sitter but of the portraitist"

and

"It has all the trappings of an academic's effort to find a not hitherto
appreciated  profound insight, at the usual cost of lumbering us with all
sorts of imaginary new entities."

Not that all those ornate, complex trappings  are without their own value, as
a nice snapshot of literary, academic life at the end of the 20th C.

But, at this point, I would rather read Berger writing about episodes in own
life, rather than the lives of great artists or art patrons of the past.

Of course, if anyone else wishes to continue reading/discussing his book, I
would be happy to continue.

But I will be shocked if anyone does.


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