But, to turn this understanding around, in the sense of buying a painting, not everyone can afford millions and billions of dollars to buy original artworks or travel thousands of miles to look at them, reproducing them as souvenirs and museum merchandise have fulfilled fan service for the viewers. This statement can be different for everyone, as today there are many possible ways to display paintings. To put these paintings in different forms and places, imagine looking at Goya’s ‘Third of May 1808’ in a café, restaurant, gym, or on your phone? The difference here has shifted drastically because you are not participating in looking at it as a big large painting hung on a museum, you will not view it in the same way.
You are automatically drawn to the painting you want to look at, and you are concentrating on your thoughts to perceive its story. It is a different experience of looking at a painting in a gallery/museum, where you are in a room with people who are looking at works as you are. It allows people to think in different ways to prevent them to actually visit cultural places to view and understand their taste in art. They lose some value when they are reproduced completely or in sections. Although the book and programme make the same case, they do so in slightly different ways, and the programme is well worth watching. Berger goes back to his first action where he cut Botticelli’s 'Venus and Mars' and explains, paintings hold unique value as they were only allowed to be viewed in one place at a time, that is where they were displayed. 1 John Berger, Ways of Seeing INTRODUCTION Published in 1972 and based on a BBC television programme of the same name, this is a very influential text on art criticism. The camera reproduces it, making it available in any size, anywhere, for any purpose.” It has become more convenient today to reproduce any image or painting at any level required. Berger says, “The painting on the wall, like a human eye, can only be in one place at one time.
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