Modos de ver John Berger 1972 Episodio 2. Subtítulos español
Summary
TLDREl guion explora cómo la desnudez femenina en la pintura europea tradicional refleja la mirada masculina y la objetivación de la mujer. Se analiza cómo la mujer se convierte en un espectáculo, evaluada y disfrutada visualmente por el espectador, especialmente por el hombre. La desnudez se presenta como una forma de vestimenta, una máscara que oculta la identidad real de la mujer, y no como una expresión de libertad o autenticidad. La narrativa critica la idealización y la pasividad impuestas a la mujer, y sugiere que estas representaciones han influido en cómo las mujeres ven a sí mismas hoy en día.
Takeaways
- 👤 La cultura de la mirada masculina juega un papel crucial en cómo las mujeres ven a sí mismas, constantemente evaluadas y comparadas con ideales estéticos.
- 🎨 En la pintura europea, las mujeres suelen ser representadas desnudas no como seres libres sino como objetos de deseo y placer para el espectador masculino.
- 🤔 La desnudez en el arte no es simplemente la ausencia de ropa; implica ser vista desnuda por otros, lo que puede convertirse en una forma de disfraz imputable.
- 🌍 La visión de la mujer en la pintura refleja convenciones y criterios de belleza que varían según la época y la cultura, pero a menudo perpetúan estereotipos de género.
- 👀 La mirada de los cuadros de mujeres desnudas es a menudo dirigida hacia el espectador, creando una dinámica en la que la mujer se percibe como objeto de deseo más que como sujeto activo.
- 🏆 La competencia y el juicio estético en la representación de mujeres desnudas, como en el mito de París, contribuyen a la noción de belleza como una cualidad competitiva y deseable.
- 🖼️ En la tradición artística, la desnudez de las mujeres se ha utilizado como una forma de vestimenta idealizada, en lugar de una expresión de la identidad o la sexualidad propias.
- 🤝 La interacción activa y equitativa en la representación del amor y la sexualidad es rara en la pintura, donde a menudo la mujer es presentada como pasiva y destinada a satisfacer el deseo del espectador.
- 💭 Las mujeres en la sociedad actual reflexionan sobre cómo las imágenes tradicionales de desnudez y belleza han influido en su autoimagen y en la forma en que se ven a sí mismas y a otras.
- 🔄 La crítica a la objetivación de la mujer en el arte y la cultura sugiere una necesidad de una representación más auténtica y diversa que refleje la complejidad y la agencia de las mujeres.
Q & A
¿Cómo se describe la percepción de las mujeres en la cultura de los europeos privilegiados?
-En la cultura de los europeos privilegiados, las mujeres son vistadas principalmente como un objeto de mirada, una 'vista' para ser observadas.
Según el guion, ¿qué diferencia hay entre estar desnudo y ser un desnudo en el arte?
-Está desnudo es estar sin ropa, mientras que ser un desnudo es ser visto sin ropa por otros, y no ser reconocido por uno mismo.
¿Qué revela el análisis de las pinturas al óleo europeas sobre cómo se juzgaban a las mujeres?
-Las pinturas al óleo europeas muestran los criterios y convenciones por los cuales se juzgaban a las mujeres, cómo eran vistas y cómo su desnudez era un espectáculo para los que estaban vestidos.
¿Cómo se relaciona la historia de Adán y Eva con la percepción de la desnudez y el juicio en la cultura?
-La historia de Adán y Eva muestra que la conciencia de estar desnudos surge tras comer la manzana, lo que cambia la forma en que se ven mutuamente, y la mujer es culpada y castigada por ser subordinada al hombre.
¿Qué sugiere el guion sobre la naturaleza competitiva de la belleza en el contexto de la 'Elección de París'?
-La 'Elección de París' transforma la belleza en una competencia donde Paris elige a la mujer que encuentra más hermosa, lo que implica que la belleza se convierte en una cuestión de juicio y competencia.
¿Qué simboliza el espejo en la tradición de las pinturas al óleo europeas según el guion?
-El espejo simboliza la vanidad de las mujeres, pero también refleja la hipocresía de los hombres que pintan a una mujer desnuda por placer y luego la condenan moralmente por su desnudez.
¿Qué opinan las mujeres entrevistadas sobre la influencia de las pinturas al óleo en su imagen propia?
-Las mujeres entrevistadas consideran que las pinturas al óleo son idealizadas y no realistas, y no contribuyen a su imagen personal ni al placer de ver a otro cuerpo femenino.
¿Cómo se relaciona la desnudez con la identidad y el narcisismo según el guion?
-La desnudez se relaciona con la identidad y el narcisismo, ya que se convierte en una forma de disfraz que no se puede quitar, y las mujeres se ven obligadas a 'vestirse' para el disfrute de los demás, en lugar de expresar su propia sexualidad.
¿Qué diferencia hay entre la forma en que los hombres y las mujeres se ven a sí mismos según los comentarios del guion?
-Los hombres obtienen su imagen de sí mismos del mundo y sus acciones en él, mientras que las mujeres suelen obtener su imagen de los demás, lo que las coloca en una posición más pasiva en relación con su identidad.
¿Qué sugiere el guion sobre la importancia de la autoaceptación y la autodelight en la vida moderna?
-El guion sugiere que la autoaceptación y la autodelight son importantes en la vida moderna, especialmente para las mujeres, ya que les permiten interactuar con el mundo de manera más auténtica y menos influenciada por las expectativas de los demás.
Outlines
👤 La mirada y la auto percepción de la mujer
Este párrafo explora cómo la mirada de los hombres hacia las mujeres y la auto percepción de estas influyen en su imagen y comportamiento. Se menciona que las mujeres son constantemente miradas y juzgadas, lo que las lleva a ser conscientes de su apariencia, especialmente en relación con los hombres. Se destaca la importancia de cómo las mujeres se ven a sí mismas y cómo esta percepción se refleja en la cultura, como en las pinturas al óleo europeas, donde las mujeres suelen ser vistas como objetos de deseo y juicio.
🍎 La historia de Adán y Eva y la creación de la conciencia del desnudo
Este párrafo analiza la historia bíblica de Adán y Eva y cómo su consumo del fruto del árbol del conocimiento los hizo conscientes de su desnudez, lo que simboliza la apariencia y la percepción de uno mismo y los demás. Se discute cómo la desnudez en la pintura europea se convierte en un medio para que los espectadores, generalmente hombres, juzguen y objetivizan a las mujeres, y cómo esto refleja la dinámica de poder y la subjetividad en la percepción del cuerpo femenino.
🎨 La desnudez en la pintura y la objetivación de la mujer
Este párrafo se enfoca en cómo la desnudez de las mujeres en la pintura al óleo ha sido utilizada para complacer al espectador masculino, y cómo esta práctica refleja una visión objetivante y de posesión. Se menciona que la desnudez en la pintura a menudo se presenta como una forma de vestimenta, donde las mujeres están expuestas y evaluadas por su apariencia, en lugar de ser vistas como seres con sus propias emociones y deseos.
👩🎨 La percepción de la mujer en el arte y la sociedad
Este párrafo presenta las opiniones de varias mujeres sobre cómo las imágenes tradicionales de desnudez femenina en el arte han influido en su auto percepción y en la sociedad. Se discute la idea de que estas imágenes pueden ser exageradas y no reales, y cómo esto puede afectar la forma en que las mujeres ven su cuerpo y su identidad. Las participantes reflexionan sobre la diferencia entre la imagen idealizada en el arte y la imagen que tienen de sí mismas, y cómo esto puede ser empoderador o limitante.
🤔 Narcisismo, identidad y la interacción con el mundo
Este párrafo explora la idea del narcisismo y cómo afecta tanto a hombres como a mujeres, pero de maneras diferentes. Se argumenta que mientras que la imagen de las mujeres se deriva de la percepción de los demás, la de los hombres proviene de su interacción con el mundo. Se discute cómo la identidad y el narcisismo pueden ser tanto positivos como negativos, y cómo la interacción con el mundo y la auto aprobación son cruciales para la formación de la identidad y la realización personal.
🌿 La autoaceptación y la libertad en la representación del cuerpo
Este párrafo reflexiona sobre la autoaceptación y la libertad en la representación del cuerpo, especialmente en el contexto de la desnudez. Se menciona cómo la mujer en la pintura a menudo se muestra en poses pasivas y cómo esto contrasta con la idea de estar en contacto con el mundo y con uno mismo. Se destaca la importancia de la autenticidad y la acción en la auto percepción, en lugar de la pasividad y el enfoque en la apariencia.
Mindmap
Keywords
💡mirada
💡reflejo
💡nudez
💡juicio
💡identidad
💡espejo
💡competencia
💡disfraz
💡pasividad
💡narcisismo
Highlights
Men dream of women, and women dream of themselves being dreamed of.
Women constantly meet glances which act like mirrors, reminding them of how they look or how they should look.
Behind every glance is a judgment, sometimes the glass they meet is their own, reflected back from a real mirror.
A woman in the culture of privileged Europeans is first and foremost a sight to be looked at.
To be naked is to be oneself; to be nude is to be seen naked by others, and yet not recognized for oneself.
In the nudes of European painting, we can discover some of the criteria and conventions by which women were judged.
The story of Adam and Eve illustrates the creation of nakedness in the mind of the beholder and the woman's subsequent punishment and subordination.
In medieval art, the story of Adam and Eve is often illustrated, emphasizing the moment of shame in relation to the spectator.
The Judgment of Paris, a favorite mythological subject, involves men looking at and judging naked women, transforming beauty into a competitive concept.
The mirror in paintings became a symbol of the vanity of women, yet the male hypocrisy is blatant as they depict women's nakedness for their pleasure.
Most nudes in oil paintings have been lined up for the pleasure of the male spectator, their nudity serving as another form of dress.
In European art, women are seldom shown dancing; they are there to feed an appetite, not to have any of their own.
The nude in European oil painting is usually presented as an ideal subject, said to express the European humanist spirit.
The program raises questions about how men see women or have seen them in the past and how this influences the way women see themselves today.
The image that women compare themselves with is often derived from photographs and advertising, rather than classical European paintings.
Nudity in paintings is seen as a uniform, representing readiness for sexual pleasure, rather than freedom or self-expression.
The concept of availability implies passivity, as women wait for someone else to act, contrasting with the active engagement with the world.
Narcissism is discussed as a phenomenon that affects both men and women differently, with women's image of themselves often derived from others' views.
The film suggests that women have been conditioned to see themselves as objects of beauty and desire, as portrayed in art and advertising.
One woman describes her realization that she always poses when looking in the mirror, influenced by the cultural ideal of the female form.
The discussion concludes with a reflection on the importance of self-delight and the need for women to have a sense of identity beyond how they are perceived by others.
Transcripts
men dream of women women dream of
themselves being dreamed of
men look at women
watch themselves being looked at
[Music]
women constantly meet glances which act
like mirrors reminding them of how they
look or how they should look
behind every glance is a judgment
sometimes the glass they meet is their
own
reflected back from a real mirror
[Music]
foreign
[Music]
[Music]
is always accompanied except when quite
alone perhaps even then by her own image
of herself
while she is walking across a room or
Weeping at the death of her father she
cannot avoid envisaging herself walking
or weeping from earlier's childhood she
is taught and persuaded to survey
herself continually
she has to survey everything she is and
everything she does because how she
appears to others and particularly how
she appears to men
is of crucial importance
for what is normally thought of as the
success of her life
[Music]
[Music]
a woman in the culture of privileged
Europeans is first and foremost a sight
to be looked at
what kind of sight is revealed in the
average European oil painting
the reporters of women as the reporters
of men but in one category of painting
women with a principal ever occurring
subject
that category was the nude
in the nudes of European painting we can
discover some of the criteria and
conventions by which women were judged
we can see how women were seen
Portland is a nude
in his book on the nude Kenneth Clark
says that being naked is simply being
without clothes
the nude according to him
is a form of Art
I will put it differently
to be naked is to be oneself
to be nude is to be seen naked by others
and yet not recognized for oneself
a nude has to be seen as an object in
order to be a nude
in the European oil painting nakedness
is not taken for granted as in archaic
art
nakedness is a sight for those who are
dressed that is why Mana is painting
which really marks the end of the period
I'm considering is so profound the
comment on all the works which preceded
it
The Story begins with the story of Adam
and Eve As Told in Genesis
and when the woman saw that the tree was
good for food and it was a delight to
the eyes and that the tree was to be
desired to make one wise she took of the
fruit thereof and did eat and she gave
also unto her husband with her and he
did eat
and the eyes of them both were opened
and they knew that they were naked
and the Lord God called unto the man and
said unto him where art thou
and he said I heard thy voice in the
garden and I was afraid because I was
naked and I hid myself
unto the woman God said I will greatly
multiply thy sorrow and thy conception
in sorrow Thou shalt bring forth
children and thy desire shall be to thy
husband and he shall rule over thee
things are striking about this story
they become aware of being naked because
as a result of eating the Apple each
sees the other differently nakedness is
created in the mind of the beholder
the second striking fact
is that the woman is blamed and is
punished by being made subservient to
the man
in relation to the woman the man becomes
the agent of God
in medieval art the story is often
Illustrated seen following seen as in a
strip cartoon
during the Renaissance The Narrative
sequence disappears and the single
moment which is NATO always depicted is
the moment of Shame
the couple wear fig leaves or make a
modest gesture with their hands
but now their shame is not so much in
relation to one another as to The
Spectator it is the spectators looking
which shames them
later as painting became more secular
many other subjects offered the
opportunity of painting nudes
but always in the European tradition the
nude implies an awareness of being seen
by The Spectator
they are not naked as they are
they are naked as you see them
often as with the favorite subject of
Susanna and the elders this is the
actual theme of the picture we join the
elders to spy on her
she looks back at us looking at her
sometimes the woman Susanna looks at
herself in a mirror
picture into herself how men see her
she sees herself first and foremost as a
sight
which means a sight for men
thus the mirror became a symbol of the
vanity of women
yet the male hypocrisy in this is
blatant
you paint a naked woman because you
enjoy looking at her
you put a mirror in her hand
and you call the painting vanity
thus morally condemning the woman whose
nakedness you have depicted for your own
pleasure
and thus incidentally repeating the
biblical example by blaming the woman
the Judgment of Paris was another
favorite mythological subject with the
same inwritten idea of men looking at
naked women and judging them
Paris Awards the Apple to the woman he
finds most beautiful
Beauty in this context is bound to
become competitive
the Judgment of Paris is transformed
into the beauty contest
Aesthetics when applied to women are not
as disinterested as the word beauty
might suggest
I don't want to deny the crucial part
that seeing plays in sexuality but
there's a great difference between being
seen as oneself naked or seeing another
in that way and a body being put on
display
to be naked
is to be without disguise
to be on display is to have the surface
of one's own skin the hairs of One's Own
body
turned into a disguise a disguise which
cannot be discarded
amongst the tens of thousands of
European oil paintings of nudes
there are perhaps 20 or 30 exceptions
paintings in which the artist has seen
the woman revealed as herself
this Rubens
this Rembrandt
this Georges De La Tour
these paintings are as personal as love
poems and their character is quite
distinctive
most nudes in oil paintings have been
lined up by their painters for the
pleasure of the male spectator owner who
will assess and judge them as sites
their nudity is another form of dress
they are condemned to never being naked
with their clothes off they are as
formal as with their clothes on
those who are not judged beautiful are
not beautiful
those who are are given the prize
the prize is to be owned that is to say
to be available
Charles II commissioned this secret
painting from laylee it's like hundreds
of others it might be Venus and Cupid
but in fact it was a portrait of one of
his mistresses nelgwin
it shows how passively looking at The
Spectator staring at her naked
her nakedness is not an expression of
her own feelings it is only a sign of
her submission to his demand
the painting when he shows it to others
demonstrates the submission his guests
envy him
by contrast in another tradition
nakedness is a celebration of active
sexual love as between two people the
woman as active as the man
the actions of each absorb the other
in oil painting the second person or the
second person who matters is the
stranger looking at the picture
compare the expression of these two
women
run the model for what is considered a
masterpiece by Aang and the other an ill
paid model for a photograph in a girly
magazine
obvious two
just the expression look
what do you see
it seems to me that in each pair the
expression is remarkably similar
and it is an expression of responding
with calculated charm to the man whom
she knows is looking at her although she
doesn't know him
it is true that sometimes a painting
includes a male lover
but the woman's attention is very rarely
directed towards him she looks away from
him or she looks out of the picture
towards he who considers himself her
true lover
The Spectator owner
this painting was sent as a present from
the Grand Duke of Florence to the king
of France
the boy kneeling on the cushion and
kissing the woman is Cupid she's Venus
but the way her body is arranged has
nothing to do with that kissing
her body is arranged in the way it is to
display it to the man looking at the
picture
the picture is made to appeal to his
sexuality it has nothing to do with her
sexuality
the convention of not painting the hair
on a woman's body helps towards the same
end hair is associated with sexual power
with passion
the woman's sex or passion needs to be
minimized so that the spectator may feel
that he has the Monopoly of such passion
there were paintings which depicted male
lovers since they exist but they were
mostly private semi-pornographic
pictures
in most paintings which were painted to
be seen rather than hidden
the only rival to the male spectator is
a Cupid
how extraordinary it is that the
pictorial symbol of passion was a small
boy
for a similar reason women in the
European art of the oil painting are
seldom shown dancing they have to be
shown languid exhibiting a minimum of
energy
they are there to feed an appetite not
to have any of their own
appetite was theoretically
gargantuan
the absurdity of this male flattery
although it was not seen as absurd then
reached its peak in the public academic
art of the 19th century
Prime Ministers discussed under
paintings like this when one of them
felt he had been outwitted
he looked up for consolation
the nude in European oil painting is
usually presented as an ideal subject
it is said to be an expression of the
European humanist spirit
and reject entirely the truth of this
but I've tried to add to it starting off
from a different viewpoint
Dura who believed in the ideal nude
thought that this ideal could be
constructed by taking the shoulders of
one body the hands of another the
breasts of another and so on
was this humanist idealism
or was it the result of an indifference
to who any one person really was
do these paintings celebrate as we're
normally taught The Women Within them or
the male warrior
is there sexuality within the frame
or in front of it
I showed the program as you have seen it
up till now to five women
it began to seem absurd that the only
images you were seeing were of women
silent mute so I showed it to them and
asked them to comment to comment not so
much on the program but rather on the
questions raised by it
above all on the question of how men see
women or have seen them in the past
and how this influences the way women
see themselves today we have an image of
course we all have an image of ourselves
and it's a visual image
but I wonder how much this sort of
classical European painting has shaped
that image in my own case I find it
quite impossible when I look at the
paint institution in your film
I can't take them seriously I cannot
identify with them because they are so
immensely exaggerated always you know
they fasten on to some secondary sexual
characteristics or at least enormous
breath some sort of great big bee sting
bottoms you know and those huge things
like that and they just aren't real
whereas with photographs
um you can you can feel that is
potentially that's possibly Me overall
you know it probably isn't but these
these nearly all the paintings you have
shown
um are what is called idealized
um and therefore they are to me very
unreal in connection with with any deep
down image that I might have of myself
and in connection with any deep down
pleasure that I might have in looking at
another female body they don't give me
that kind of pleasure at all
can admire them as painting but they are
they they don't mean human beings to me
um the image that I compare myself with
is the photograph because it's with
photographs that I've been encouraged to
think of myself in this way it is
essentially advertising for me that's
contributed to this and consequently I
find it extremely interesting to go back
and think of nudes in this way because
I've never done so but having seen the
film I have no doubt that the same thing
applies
and do you find the nudes in painting in
the same way you yes
well you can't get any information from
it can you it's no guide towards the
future information is lacking oh well
activity you know dynamism anything
it is how someone sees you and that's
all it's something laid upon you
I'm glad you showed them any picture
because I always find this
extremely shocking you know because the
men are dressed and the women are naked
and this seems to me sum up the whole
situation it's a humiliating position
and these women are well being
humiliated
um and I think this is part of the whole
scheme of things I mean I think most
people have had at some station and I've
nightmares about running through the
streets with nothing on and everybody
else's words and it seems to me one
element in the pictures
um very interesting thing you said in
the film was about
um how nudity was really a kind of
Disguise it wasn't the real person
themselves and free
but it was just another garment they
were wearing and worse than a garment in
the sense because it was something that
you can't take off this comes I think
from nudity being combined with a pose
and that's inevitable if you're going to
have a painting of a model
um
in a way
I think that we're always dressing we're
always dressing up for a part
always uh putting on a uniform of one
kind or another and I think women do
this almost more than men men have only
begun doing it fairly recently women are
always dressing
to show the kind of character that they
want to to represent the mother the
working woman the pretty young chick and
nudity is a uniform
in a way for I'm ready now for sexual
pleasure you see and so it doesn't you
you you can't com you can't identify
being nude with being free I've only
just recently read that book is
which describes um the way in which a
woman is reduced for the sex and
pleasure of the man she's in love with
to a complete object and what struck me
in all that book as the most impressive
image was the fact that she was told
that she was never to touch her own
breasts to entirely close her Mark or to
close or to put her legs together and so
the whole point about her stance all the
time was that she was available
and this the sense of being available
the sense of waiting for other people is
the very antithesis of action
and it you know just like the whole the
Brook Street Bureau advertisement Tony
hasn't run you know he's three minutes
late and ringing and you feel this whole
situation the number of women you've
talked to who say I stay in so many
nights a week waiting for somebody to
ring you know that the the concept of
availability implies passivity because
if you're simply waiting for somebody
else to act then you contact yourself
yes it's it's like
um you will awake when a man Taps you
you know when a man kisses you you will
arise and gets off your bed but um
really it's an excuse to get yourself
going I think doing it too shy
they're waiting too long
yes yes could I say something about
narcissism I think that both men and
women are narcissistic but in different
senses
and I think that one in sometimes I I
have the impression that men and women
are tremendously narcissistic and cut
off from each other by their images
themselves but that whereas a woman's
image of herself is derived directly
from other people the mirror you're
talking about a man's image of himself
is derived from the world that is it's
the world that gives him back His Image
because he acts in it and
you know women are drawn to him as a
source as a central activity and as a
source of work I mean since he is in the
world the fact that he values her is
important
um and so because they're sort of
centers of narcissism are different and
the women's is essentially only related
to the other person she's in a much more
passive position than he is in relation
to it yes
do you see do you see narcissism as
essentially a a negative or
positive
phenomenon well
I think that's very difficult to answer
but in the sense that it is related to
Identity
um it's a positive phenomenon and it
seems to me that what women envy and Men
A lot of the time is that they have a
sense of their identity but there is
something in them which is important to
them other than simply what other people
think of them and I think that that
thing
is the product of their interaction with
the world that is other things and other
people and it's sort of it's almost as
if through this interaction they
actually build up a store of worth a
sense of themselves
um which which is a constant I mean it
can't be lost but that because the woman
doesn't go out and act she doesn't
create the store
she waits only for the present
interaction with a man that and that can
go that can just end at any moment
there's something you know really I'd
like to to Chris around a little bit
because narcissism is a very sort of
pronounced way of stating a relationship
throughout whether it's a man or woman
isn't it but
um this other question which is
contained within it
doesn't go as far as it as an idea
is this sort of self-delight of a person
whether it's a man or a woman
in life and what they're doing in their
relationships with men or women
and it's a thing that matters
tremendously
and it's not only a kind of inner Thing
by which you live
but it's a really outer Thing
by which you gain relationships with
your own context in the world that you
can't game any other way that it's when
you have somehow been made so
unconscious of yourself
that you'll easily naturally sort of
compulsively go out
do whatever is going on around you now
we're not a child that thins more than
with people to be other things doesn't
it
mountains streams wherever you go
um uh and then only gradually
and go on
to make this kind of
absolutely necessary contact with people
but I do think that
the sort of essence of self-delight as a
kind of possible thing in the modern
world and something that sure women have
than men and want and must have
they
they are the compulsion not the person
the propulsion
make contact with the world as you are
living in it and when I say that I don't
just mean the people next door or your
friends I simply mean what is going on
well I don't know for sure about the
Delight I think it's a really
double-edged thing
um I know as I suppose I've always known
but I became aware of it in this film I
have never consciously looked at myself
in the mirror and seen myself as I am I
always see the image that I want I know
and my children notice it but if I make
up my face I put on a certain expression
if I from adolescence on if I see myself
naked in the mirror I have not thought
of myself naked I have thought of myself
as a nude and I think this comes very
largely from having been trailed around
all the major art galleries no lessons
you know this is culture this is beauty
the castle B
um of course up to a point I'm
advertising too but much more um the
painting thing
um that you you think the female body is
beautiful I am a beautiful object if not
I have to do something about it
um and therefore the painful part of the
narcissistic thing is I think the
feeling of inadequacy
um now this business of always posing in
a mirror I think one does absolutely
automatically and the result is that if
you actually catch yourself in a mirror
um by chance that's not deliberately
because you're getting dressed or
something or had a bath but because
there's one in the street or you catch
yourself in a shop window it's a
tremendous shot because you'll suddenly
see yourself as you are which is wind
blown untidy badly dressed tired and so
on you don't see the pose at all and I
think this is what happens to women that
they're always trying to measure up to
this erotic image that is projected
that there are some paintings and I
think at this moment in particular of
one painting where there's a woman who
is wearing a garment she's not nude but
it is a garment so loose so comfortable
so easy
and it's my idea very much
um of
what a picture of a woman might be like
it I think it's actually before your
period almost it's so long ago I mean
it's by laurenzetti it comes in the good
and bad government it's a fresco it's a
very very old you know and it is a
picture of a woman who is supposed to
represent peace it's quite extraordinary
but she could be one of the liberators
or trying to deliberate as young women
today she is at ease she is relaxed she
is not playing any part at all she is
able to combine pleasure with thought
and with dreaming
and she's she might spring into action
at any moment
and I for me
she she has much much more to do with
with with nakedness with oneself
with the truth about oneself and any
number of nudes that I've ever seen
[Music]
thank you
[Music]
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