John Berger, in his book and documentary “Ways of Seeing” delves into the history and influence of art, and how the work has transformed. “Looking at Art” by Alice Elizabeth Chase has a similar intention, as it outlines the importance of perspective and the formation of interpretation throughout time. These art critics and novelists portray a similar message concerning the value “seeing” art, yet through the use of different examples.

Berger states that “The act of seeing is active; it is an act of choice.” From this is cast the idea that everyone sees things differently, as everything is open to personal interpretation and influence. The more technical aspect of this action is broached by Chase, who says, “It is not possible to limit vision to any one scientific scheme. We have two eyes, we move our heads; we shift our glance; we walk around. What is exactly accurate for a single eye fixed at a point is not accurate for the restless human eye.” The notion that not only the way we see something, in the physical sense, but the way we really “see” something in an influential way, differs is noted by both these authors; something which has been developed through time and experience.

Another aspect to consider when thinking about art, and its appreciation is to note the time and era in which the piece was created. Chase comments that, “If the modern spectator finds himself a little bored by the painting, it is partly because taste changes. Today we seek something other than superb technical skill.” Taste does not just change from individual to individual, but corporately as well, as artistic periods form; several noted by Berger: renaissance, impressionists and cubists movements.

With the vast options of seeing and interpreting, the artist is also able to showcase his work in such a way to highlight or focus on specific areas which he would like the spectator to notice. Although photography is the most realistic form of art, Chase comments that “Representing things in this way may not be true to what the eye sees, but it often shows what is going on better than a photograph could.” Artists often change their idea of realism in order to pin point a certain matter or issue which the artist would like brought to attention. In the same breath, the majority can form a meaning or interpretation, as Berger notes, “When images from the past are presented as works of art, their meanings are obscured by learnt assumptions such as beauty, truth, form etc.” Without the conscious knowledge, everyone approaches art with preconceived notions or ideas.

The fantastic thing about art is that we in are no way constrained to our perceptions, but we can rather change or broaden our reaction to different works, as Chase articulates, “New ways of seeing, can sharpen our perception, and can give us a deeper and ricer sense of the relation of nature and man.” From this, stem endless possibilities.

The freedom of interpretation in art is not just available to the spectator, but even more so the artist. Within her essay, Chase hones in on the art of landscapes, and notes that  “The scene is not a “view” at all, but a map, ” giving the artist complete freedom, as “ways of looking at it and painting it vary even more.” Even since the earliest recorded landscape, Chase states, “The landscapes were never real but rather the fanciful imaginings of city dwellers who think of the country as a bright and happy world remote from turmoil.” This again reinstates the endless view and interpretation of art, for both the artist and spectator.

Unlike Chase, Berger focuses on the nude, and its development through history, and the specific fact that it was created for the audience. Through the use of nudes, not just the way the painting is seen, but also how women are seen, is noted by Berger, “The nude reveals how women have been seen and judged as sights.” He develops, “To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude.” The nude has ben created with the purpose of pleasing the viewer, Berger states that “The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object – and most particularly an object of vision: a sight.” In this instance the artist creates from a place of bringing pleasure to the spectator. With this in mind, the artist brings importance to the pieces of his work he thinks the spectator would most like to notice.

In his work, John Berger plows deeper into the dangerous world of commercial art, a debate which Chase prefers to steer clear from. Berger deploys the idea that “What determines an image’s value is not its meaning or quality of painting, but its uniqueness.” His dislike of photography, not the art, but its ability to copy any image, he believes detracts from the idea that art is sacred and completely unique. Berger also touches on the fact that commercial art has become so prevalent and ever changing in the world today. He also notes the emptiness of publicity and advertising and how it is a false promise. The idea that there is always more, always better. The envy that stems from this glamour, which is all rooted in instant gratification, often dilutes the importance of art and its effect. Berger then makes an interesting link between oil paintings and publicity; the private property, value and important owner-quality of it all. He also plays on the thought that this theme is intertwined into every area of our lives, “Money is life . . . in the sense that 
it is the token of and key to every human capacity. The power to spend money is the power to live.” Most importantly, is the “divorce from reality” which both oil paintings and publicity share; the idea of “what he is and what he would like to be.”

Alice Elizabeth Chase and John Berger both address the importance of “seeing” with regards to art. The artist’s perspective and intention, the viewer’s response and the influence of the work are all tackled. Chase and Berger use different examples and eras to make their point, yet the common idea that art is a vessel open to appreciation from people in all walks of life, roles and society, both spectators and creators, is evident.