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John Berger

British writer, art critic and painter John Berger wrote fiction, essays and collaborative works on images, labour and social experience. He is best known for Ways of Seeing and the Booker Prize-winning novel G.

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About John Berger

John Berger (1926–2017) was a British writer, art critic and painter whose work crossed fiction, essays, broadcasting, poetry and screenwriting. Born in London, he began his career as a painter before becoming known as a critic. He later settled in rural France, where village life informed much of his writing.

Berger examined how images acquire meaning through ownership, reproduction, gender and social power. His prose is direct but exploratory, often moving between close observation and political argument. He also wrote about photography, migration, medicine, animals and rural labour, frequently collaborating with photographers and other artists.

Ways of Seeing began as a 1972 BBC television series and became a book composed of seven essays, three of them entirely pictorial. Berger’s novel G. won the Booker Prize that same year. His other books include A Painter of Our Time, A Fortunate Man, created with photographer Jean Mohr, the Into Their Labours trilogy and To the Wedding.

Start with Ways of Seeing. Its juxtapositions of paintings, advertisements and photographs make Berger’s arguments tangible, while its compact essays challenge assumptions about European oil painting, the female nude and publicity. Readers who want to follow his ideas into fiction can turn next to G.; those drawn to documentary work should try A Fortunate Man.

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Ways of Seeing

In Ways of Seeing, John Berger examines how social conventions, technology, ownership, gender, and commerce influence the interpretation of visual images. Beginning with the transformation caused by photographic reproduction, he argues that paintings no longer remain confined to a single place or ritual setting: they can be copied, cropped, enlarged, captioned, and combined with other images, changing what viewers think they mean. Berger then turns to the European nude, where he distinguishes between living in one’s body and being arranged for another person’s inspection. He also interprets oil painting as a visual language closely connected to property and possession, before comparing its legacy with the promises made by modern advertising. Combining written and image-only essays, the book teaches readers to question not merely what a picture depicts, but who controls its presentation, what interests its conventions serve, and how the viewer’s own circumstances participate in meaning.

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