by John Berger
Geoff Dyer, March 2001
From Permanent Red;
(US title Toward Reality)
Preface to the 1979 Edition
This book was first published in 1960. Most of it was written between 1954 and 1959. It seems to me that I have changed a lot since then. As I re-read the book today I have the impression that I was trapped at that time: trapped in having to express all that I felt or thought in art-critical terms. Perhaps an unconscious sense of being trapped helps to explain the puritanism of some of my judgments. In some respects I would be more tolerant today: but on the central issue I would be even more intransigent. I now believe that there is an absolute incompatibility between art and private property, or between art and state property – unless the state is a plebeian democracy. Property must be destroyed before imagination can develop any further. Thus today I would find the function of regular current art criticism – a function which, whatever the critic’s opinions, serves to uphold the art market – impossible to accept. And thus today I am more tolerant of those artists who are reduced to being largely destructive.
Yet it is not only I who have changed. The future perspective of the world has changed fundamentally. In the early 1950s when I began writing art criticism there were two poles, and only two, to which any political thought and action inevitably led. The polarization was between Moscow and Washington. Many people struggled to escape this polarization but, objectively speaking, it was impossible, because it was not a consequence of opinions but of a crucial world-struggle. Only when the USSR achieved (or was recognized to have achieved) parity in nuclear arms with the USA could this struggle cease to be the primary political factor. The achieving of this parity just preceded the Twentieth Congress of the CPSU and the Polish and Hungarian uprisings, to be followed later by the first obvious divergences between the USSR and China and by the victory of the Cuban Revolution. Revolutionary examples and possibilities have since multiplied. The raison d’ětre of polarized dogmatism has collapsed.
I have always been outspokenly critical of the Stalinist cultural policy of the USSR, but during the 1950s my criticism was more restrained than now. Why? Ever since I was a student, I have been aware of the injustice, hypocrisy, cruelty, wastefulness and alienation of our bourgeois society as reflected and expressed in the field of art. And my aim has been to help, in however small a way, to destroy this society. It exists to frustrate the best man. I know this profoundly and am immune to the apologetics of liberals. Liberalism is always for the alternative ruling class: never for the exploited class. But one cannot aim to destroy without taking account of the state of existing forces. In the early 1950s the USSR represented, despite all its deformations, a great part of the force of the socialist challenge to capitalism. It no longer does.
A third change, although trivial, is perhaps worth mentioning. It concerns my conditions of work. Most of this book was first written as articles for the New Statesman. They were written, as I have explained, at the height of the Cold War during a period of rigid conformism. I was in my 20s (at a time when to be young was inevitably to be patronized). Consequently every week after I had written my article I had to fight for it line by line, adjective by adjective, against constant editorial cavilling. During the last years of the 1950s I had the support and friendship of Kingsley Martin, but my own attitude towards writing for the paper and being published by it had already been formed by then. It was an attitude of belligerent wariness. Nor were the pressures only from within the paper. The vested interests of the art world exerted their own through the editors. When I reviewed an exhibition of Henry Moore arguing that it revealed a falling-off from his earlier achievements, the British Council actually telephoned the artist to apologize for such a regrettable thing having occurred in London. The art scene has now changed. And on the occasions when I now write about art I am fortunate enough to be able to write quite freely.
Re-reading this book I have the sense of myself being trapped and many of my statements being coded. And yet I have agreed to the book being re-issued as a paperback. Why? The world has changed. Conditions in London have changed. Some of the issues and artists I discuss no longer seem of urgent concern. I have changed. But precisely because of the pressures under which the book was written – professional, political, ideological, personal pressures – it seems to me that I needed at that time to formulate swift but sharp generalizations and to cultivate certain long-term insights in order to transcend the pressures and escape the confines of the genre. Today most of these generalizations and insights strike me as still valid. Furthermore they seem consistent with what I have thought and written since. The short essay on Picasso is in many ways an outline for my later book on Picasso. The recurring theme of the present book is the disastrous relation between art and property and this is the only theme connected with art on which I would still like to write a whole book.
The title Permanent Red was never meant to imply that I would not change. It was to claim that I would never compromise my opposition to bourgeois culture and society. In agreeing to the re-issue of the book I repeat the claim.
John Berger, 1968/1979
Introduction
If you take a long-term historical view, ours is obviously a period of mannerism and decadence. The excessive subjectivity of most of our art and criticism confirms this. The historical and social explanations are not hard to find. It may be unpopular but it is not stupid to condemn works as bourgeois, formalist and escapist.
If, on the other hand, you take a very limited view it is possible to sympathize with almost all artists. If you accept what they themselves are trying to do, you can admire their effort. The work is then no longer proof of the validity of the artist’s intentions: his intentions have to prove the validity of his work. If you want to know what it feels like to be X, his paintings will tell you as much as anything else ever will. Accept that it is necessary for him to create a kind of tidal world of flux in which solidity, weight and identity are all sucked away, and then his paintings are certainly impressive.
The limitation of the first approach is that it tends to be over-mechanical. To take a long-term historical view you must stand outside your own time and culture. You must base yourself on the past, in an imaginary future or in the centre of an alternative culture. Your general opinion will probably be right. But you will almost certainly be blind to the processes by which your own period is changing itself. You will tend to see the dramatic break between the culture with which you identify yourself and the culture that surrounds you more clearly than you will see the dialectic leading up to and away from that break. You would, for instance, have seen that Surrealism was decadent but you would have failed to understand how it nourished Eluard who later opposed all decadence. It is an approach that assumes that your own period is finished rather than continuous.
The limitation of the second way of approach is its subjectivity. Intentions count for more than results. You judge the distance travelled instead of the distance still necessary to travel. You think as though history begins afresh with each individual. Your mind is open – but anything can enter it and so seem positive. You will admit the genius and the fool – and not know which is which.
So what is required is a combination of both approaches. Then you will be fully equipped to recognize that rare transformation which, when it happens, allows an artist’s pursuit of his personal needs to become a pursuit of the truth. You will have the historical perspective necessary to evaluate the truth he discovers, and you will have the imaginative appreciation necessary to understand the route he must take to travel towards his discovery. In theory, such a combination would equip the ideal critic. But in fact it is impossible.
The two approaches are mutually opposed. You are demanding that the critic is simultaneously in one place (in X’s imagination) and everywhere (in history). You are casting him for the role of God. Which is, of course, the role most critics cast for themselves. Their one concern and one fear is that they will
fail to understand the next genius, the latest discovery, the newest trend. Yet they are not God. So they wander about, looking for they know not what, and always believing that they have just found it.
Proper criticism is more modest. First, you must answer the question: What can art serve here and now? Then you criticize according to whether the works in question serve that purpose or not. You must beware of believing that they can always do so directly. You are not simply demanding propaganda. But you need not fall over backwards in order to avoid being proved wrong by those who later take your place. You will make mistakes. You will miss perhaps the genius who finally vindicates himself. But if you answer your initial question with historical logic and justice, you will be helping to bring about the future from which people will be able to judge the art of your own time with ease.
The question I ask is: Does this work help or encourage men to know and claim their social rights? First let me explain what I do not mean by that. When I go into a gallery, I do not assess the works according to how graphically they present, for example, the plight of our old-age pensioners. Painting and sculpture are clearly not the most suitable means for putting pressure on the government to nationalize the land. Nor am I suggesting that the artist, when actually working, can or should be primarily concerned with the justice of a social cause.
Shut the door of the Pope’s chapel,
Keep those children out.
There on that scaffolding reclines
Michael Angelo.
With no more sound than the mice make
His hand moves to and fro.
Like a long-legged fly upon the stream
His mind moves upon silence.
Yeats understood the necessary preoccupations of the artist.
What I do mean is something less direct and more comprehensive. After we have responded to a work of art, we leave it, carrying away in our consciousness something which we didn’t have before. This something amounts to more than our memory of the incident represented, and also more than our memory of the shapes and colours and spaces which the artist has used and arranged. What we take away with us – on the most profound level – is the memory of the artist’s way of looking at the world. The representation of a recognizable incident (an incident here can simply mean a tree or a head) offers us the chance of relating the artist’s way of looking to our own. The forms he uses are the means by which he expresses his way of looking. The truth of this is confirmed by the fact that we can often recall the experience of a work, having forgotten both its precise subject and its precise formal arrangement.
Yet why should an artist’s way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. A classical Greek sculpture increases our awareness of our own potential physical dignity; a Rembrandt of our potential moral courage; a Matisse of our potential sensual awareness. Yet each of these examples is too personal and too narrow to contain the whole truth of the matter. A work can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the work be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist’s way of viewing his subject. Goya’s way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.
Works can be very roughly divided into two categories, each offering, in the way just described, a different kind of promise. There are works which embody a way of looking that promises the mastering of reality – Piero, Mantegna, Poussin, Degas. Each of these suggests in a different way that space, time and movement are understandable and controllable. Life is only as chaotic as men make it or allow it to be. There are other works which embody a way of looking whose promise lies not so much in any suggested mastery, but rather in the fervour of an implied desire for change – El Greco, Rembrandt, Watteau, Delacroix, Van Gogh. These artists suggest that men in one way or another are larger than their circumstances – and so could change them. The two categories are related, perhaps, to the old distinction between Classic and Romantic, but they are broader because they are not concerned with specific historical vocabularies. (It is obviously absurd to think of El Greco as a romantic in the same sense as Delacroix or Chopin.)
All right, you may now say, I see your point: art is born out of hope – it’s a point that’s often been made before, but what has it to do with claiming social rights? Here it is essential to remember that the specific meaning of a work of art changes – if it didn’t, no work could outlive its period, and no agnostic could appreciate a Bellini. The meaning of the improvement, of the increase promised by a work of art, depends upon who is looking at it when. Or, to put it dialectically, it depends upon what obstacles are impeding human progress at any given time. The rationality of a Poussin first gave hope in the context of absolute monarchism: later it gave hope in the context of free trade and Whig reforms; still later it confirmed Léger’s faith in proletarian Socialism.
It is our century, which is pre-eminently the century of men throughout the world claiming the right of equality, it is our own history that makes it inevitable that we can only make sense of art if we judge it by the criterion of whether or not it helps men to claim their social rights. It has nothing to do with the unchanging nature of art – if such a thing exists. It is the lives lived during the last fifty years that have now turned Michelangelo into a revolutionary artist. The hysteria with which many people today deny the present, inevitable social emphasis of art is simply due to the fact that they are denying their own time. They would like to live in a period when they’d be right.
1960
Drawing
For the artist drawing is discovery. And that is not just a slick phrase, it is quite literally true. It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his mind’s eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations. It is a platitude in the teaching of drawing that the heart of the matter lies in the specific process of looking. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it. Each confirmation or denial brings you closer to the object, until finally you are, as it were, inside it: the contours you have drawn no longer marking the edge of what you have seen, but the edge of what you have become. Perhaps that sounds needlessly metaphysical. Another way of putting it would be to say that each mark you make on the paper is a stepping-stone from which you proceed to the next, until you have crossed your subject as though it were a river, have put it behind you.
This is quite different from the later process of painting a ‘finished’ canvas or carving a statue. Here you do not pass through your subject, but try to re-create it and house yourself in it. Each brush-mark or chisel-stroke is no longer a stepping-stone, but a stone to be fitted into a planned edifice. A drawing is an autobiographical record of one’s discovery of an event – seen, remembered or imagined. A ‘finished’ work is an attempt to construct an event in itself. It is significant in this respect that only when the artist gained a relatively high standard of individual ‘autobiographical’ freedom, did drawings, as we now understand them, begin to exist. In a hieratic, anonymous tradition they are unnecessary. (I should perhaps point out here that I am talking about working drawings – although a working drawing need not necessarily be made for a specific proj
ect. I do not mean linear designs, illustrations, caricatures, certain portraits or graphic works which may be ‘finished’ productions in their own right.)
A number of technical factors often enlarge this distinction between a working drawing and a ‘finished’ work: the longer time needed to paint a canvas or carve a block: the larger scale of the job: the problem of simultaneously managing colour, quality of pigment, tone, texture, grain, and so on – the ‘shorthand’ of drawing is relatively simple and direct. But nevertheless the fundamental distinction is in the working of the artist’s mind. A drawing is essentially a private work, related only to the artist’s own needs; a ‘finished’ statue or canvas is essentially a public, presented work – related far more directly to the demands of communication.
It follows from this that there is an equal distinction from the point of view of the spectator. In front of a painting or statue he tends to identify himself with the subject, to interpret the images for their own sake; in front of a drawing he identifies himself with the artist, using the images to gain the conscious experience of seeing as though through the artist’s own eyes.
As I looked down at the clean page in my sketchbook I was more conscious of its height than its breadth. The top and bottom edges were the critical ones, for between them I had to reconstruct the way he rose up from the floor, or, thinking in the opposite direction, the way that he was held down to the floor. The energy of the pose was primarily vertical. All the small lateral movements of the arms, the twisted neck, the leg which was not supporting his weight, were related to that vertical force, as the trailing and overhanging branches of a tree are related to the vertical shaft of the trunk. My first lines had to express that; had to make him stand like a skittle, but at the same time had to imply that, unlike a skittle, he was capable of movement, capable of readjusting his balance if the floor tilted, capable for a few seconds of leaping up into the air against the vertical force of gravity. This capability of movement, this irregular and temporary rather than uniform and permanent tension of his body, would have to be expressed in relation to the side edges of the paper, to the variations on either side of the straight line between the pit of his neck and the heel of his weight-bearing leg.