When an creative person presentations their work, he or she means to display a signifying message to the reviewer. So how does the viewer conceive small-army lookations from virtuoso image? John Berger in his essay “ shipway of sightedness” discusses certain “barriers” that alter the meanings behind these images. Berger argues that “there ar barriers to vision, problems in the ways we represent or don’t see original works of art, problems that crumb be situated in and overcome by strategies of approach.” This approach is the main obstacle because it includes international and internal factors that the observer uses to view a painting. What argon these factors and how can the spectator dissuade these factors in order to cave in the artist’s message? Mysticism, by definition in Berger’s essay, is “the process of explaining away what might otherwise be diaphanous” (103). So to “demystify,” the observer must analyze, according to Berger, “ comprehend… in the first place rowing,” (97). But this “before words” causes the major problem. John Berger meant that sentiment governs the meaning to a particle of art because “[w]hen we ‘see’ a landscape, we situate ourselves in it” (100).

If the observer analyzes the piece by pose him or herself within the horizon each element of the look-alike becomes vibrant and realistic. In bird of passage above the Sea of Fog, by Caspar David Friedrich, a lone man is seen at the top of a precipice. However, Friedrich allows the analyst to vie w only(prenominal) the backside of this man! . Once the viewer enters the image, he or she could interpret that the prospect of the man is exhilarating, terrifying, or possibly both. Unfortunately, the problem with this technique is that the spectator is fickle: each person has their own berth on what the roamer’s facial expression, and what his purpose is for macrocosm here. From his body language the wanderer is male, while his dark leafy vegetable suit...If you want to get a full essay, order it on our website:
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