{"product_id":"selected-essays-of-john-berger-isbn-9780375713187","title":"Selected Essays of John Berger","description":"The writing career of Booker Prize winner John Berger–poet, storyteller, playwright, and essayist–has   yielded some of the most original and compelling examinations of art and life of   the past half century. In this essential volume, Geoff Dyer has brought together   a rich selection of many of Berger’s seminal essays. \u003cbr\u003e\u003cbr\u003e Berger’s insights make it   impossible to look at a painting, watch a film, or even visit a zoo in quite the   same way again. The vast range of subjects he addresses, the lean beauty of his prose,   and the keenness of his anger against injustice move us to view the world with a   new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s   \u003ci\u003eGuernica,\u003c\/i\u003e the parallel violence and alienation in the art of Francis Bacon and Walt   Disney, or the enigmatic silence of his own mother, what binds these pieces throughout   is the depth and fury of Berger’s passion, challenging us to participate, to protest,   and above all, to see.\u003ci\u003eEditor's Introduction \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003ePermanent Red\u003c\/i\u003e (1960) (US title \u003ci\u003eToward Reality\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003ePreface to the 1979 Edition \u003cbr\u003eIntroduction \u003cbr\u003eDrawing \u003cbr\u003eJackson Pollock \u003cbr\u003eHenry Moore \u003cbr\u003eJuan Gris \u003cbr\u003eJacques Lipchitz \u003cbr\u003eOssip Zadkine \u003cbr\u003eFernand Léger\u003cbr\u003ePablo Picasso \u003cbr\u003eHenri Matisse \u003cbr\u003eOskar Kokoschka \u003cbr\u003eThe Clarity of the Renaissance\u003cbr\u003eThe Calculations of Piero \u003cbr\u003ePoussin's Order\u003cbr\u003eWatteau as the Painter of His Time\u003cbr\u003eThe Honesty of Goya \u003cbr\u003eThe Dilemma of the Romantics \u003cbr\u003eMillet and Labour \u003cbr\u003eThe Politics of Courbet \u003cbr\u003eGauguin’s Crime \u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003eThe Moment of Cubism\u003c\/i\u003e (1969)\u003c\/b\u003e\u003cbr\u003eThe Moment of Cubism \u003cbr\u003eThe Historical Function of the Museum \u003cbr\u003eThe Changing View of Man in the Portrait \u003cbr\u003eArt and Property Now \u003cbr\u003eImage of Imperialism\u003cbr\u003e\u003ci\u003eNude in a Fur Coa\u003c\/i\u003et: Rubens \u003cbr\u003e\u003ci\u003eThe Painter in His Studio\u003c\/i\u003e: Vermeer \u003cbr\u003e\u003ci\u003eEt in Arcadia Ego\u003c\/i\u003e: Poussin \u003cbr\u003e\u003ci\u003eThe Maja Dressed\u003c\/i\u003e and \u003ci\u003eThe Maja Undressed\u003c\/i\u003e: Goya \u003cbr\u003eMathias Grünewald\u003cbr\u003eL. S. Lowry 138\u003cbr\u003eHenri de Toulouse-Lautrec \u003cbr\u003eAlberto Giacometti\u003cbr\u003ePierre Bonnard\u003cbr\u003eFrans Hals \u003cbr\u003eAuguste Rodin\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003eThe Look of Things\u003c\/i\u003e (1972)\u003c\/b\u003e\u003cbr\u003ePeter Peri \u003cbr\u003eZadkine \u003cbr\u003eLe Corbusier \u003cbr\u003eVictor Serge \u003cbr\u003eWalter Benjamin \u003cbr\u003eDrawings by Watteau \u003cbr\u003eFernand Léger\u003cbr\u003eThicker than Water (Corot)\u003cbr\u003ePainting a Landscape \u003cbr\u003eUnderstanding a Photograph\u003cbr\u003eThe Political Uses of Photo-Montage \u003cbr\u003eThe Sight of a Man \u003cbr\u003eRevolutionary Undoing \u003cbr\u003ePast Seen from a Possible Future \u003cbr\u003eThe Nature of Mass Demonstrations \u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Booker Prize Speech\u003c\/b\u003e\u003cbr\u003eSpeech on Accepting the Booker Prize for Fiction (1972) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003eAbout Looking\u003c\/i\u003e (1980)\u003c\/b\u003e\u003cbr\u003eWhy Look at Animals? \u003cbr\u003eThe Suit and the Photograph \u003cbr\u003ePhotographs of Agony \u003cbr\u003ePaul Strand \u003cbr\u003eUses of Photography \u003cbr\u003eThe Primitive and the Professional \u003cbr\u003eMillet and the Peasant \u003cbr\u003eSeker Ahmet and the Forest \u003cbr\u003eLa Tour and Humanism \u003cbr\u003eFrancis Bacon and Walt Disney \u003cbr\u003eAn Article of Faith\u003cbr\u003eBetween Two Colmars \u003cbr\u003eCourbet and the Jura \u003cbr\u003eTurner and the Barber’s Shop \u003cbr\u003eRouault and the Suburbs of Paris\u003cbr\u003eMagritte and the Impossible \u003cbr\u003eRomaine Lorquet \u003cbr\u003eField \u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003eThe White Bird\u003c\/i\u003e (1985) (US title \u003ci\u003eThe Sense of Sight\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eThe White Bird\u003cbr\u003eThe Storyteller \u003cbr\u003eThe Eaters and the Eaten \u003cbr\u003eOn the Bosphorus \u003cbr\u003eThe Theatre of Indifference \u003cbr\u003eModigliani's Alphabet of Love \u003cbr\u003eThe Hals Mystery \u003cbr\u003eIn a Moscow Cemetery \u003cbr\u003eErnst Fischer: A Philosopher and Death \u003cbr\u003eFrançois, Georges and Amélie: A Requiem in Three Parts \u003cbr\u003eDrawn to That Moment \u003cbr\u003eThe Eyes of Claude Monet \u003cbr\u003eThe \u003ci\u003eWork\u003c\/i\u003e of Art \u003cbr\u003eMayakovsky: His Language and His Death [with Anya Bostock] \u003cbr\u003eThe Hour of Poetry \u003cbr\u003eLeopardi \u003cbr\u003eThe Production of the World \u003cbr\u003e\u003cbr\u003e\u003cb\u003eUlysses\u003c\/b\u003e\u003cbr\u003eThe First and Last Recipe: \u003ci\u003eUlysses\u003c\/i\u003e (1991) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eFrom \u003ci\u003eKeeping a Rendezvous \u003c\/i\u003e(1992)\u003c\/b\u003e\u003cbr\u003eNote to the Reader \u003cbr\u003eEv’ry Time We Say Goodbye \u003cbr\u003eThat Which Is Held \u003cbr\u003eA Load of Shit \u003cbr\u003eMother \u003cbr\u003eA Story for Aesop \u003cbr\u003eThe Ideal Palace\u003cbr\u003eImagine Paris \u003cbr\u003eA Kind of Sharing \u003cbr\u003eChrist of the Peasants \u003cbr\u003eA Professional Secret\u003cbr\u003eApe Theatre \u003cbr\u003eThe Opposite of Naked \u003cbr\u003eA Household \u003cbr\u003eDrawing on Paper \u003cbr\u003eErogenous Zone \u003cbr\u003eThe Soul and the Operator \u003cbr\u003eThe Third Week of August, 1991 \u003cbr\u003e\u003cbr\u003e\u003ci\u003eAppendices\u003cbr\u003eNotes \u003cbr\u003eSources\u003c\/i\u003e\"An important, not-to-be-missed chance to luxuriate in Berger's incomparable sagacity and visual sense.\" —\u003ci\u003eThe Washington Post\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“[Berger’s grace] is in his way with words, and the infinite meanings he finds in that common but extraordinary thing, noticing.” —\u003ci\u003eThe New York Times Book Review\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Tenderness, and an unflagging interest in the experience of being human, infuse his work.” —\u003ci\u003eLos Angeles Times\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\"Berger is one of the greatest living writers in the English language.\" —\u003ci\u003eBuffalo News\u003c\/i\u003eJohn Berger was born in London in 1926. He is well known for his novels and stories as well as for his works of nonfiction, including several volumes of art criticism. His first novel, \u003ci\u003eA Painter of Our Time\u003c\/i\u003e, was published in 1958, and since then his books have included \u003ci\u003eWays of Seeing\u003c\/i\u003e, the fiction trilogy \u003ci\u003eInto Their Labours\u003c\/i\u003e, and the novel \u003ci\u003eG.,\u003c\/i\u003e which won the Booker Prize in 1972. In 1962 he left Britain permanently, and lived in a small village in the French Alps. He died in 2017.","brand":"Vintage","offers":[{"title":"Default Title","offer_id":46302112809189,"sku":"NP9780375713187","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780375713187.jpg?v=1767736313","url":"https:\/\/k12savings.com\/es\/products\/selected-essays-of-john-berger-isbn-9780375713187","provider":"K12savings","version":"1.0","type":"link"}