Ep01 原作与复制品
观看的场所对被观看之物的影响
silence and stillness of a painting - 镜头的移动/剪辑和音乐对观看的影响
mystification of words on paintings by experts —> consider paintings as words (yet not dialogue)
the way of presentation is designed
Ep02 裸像nude与女性
glances as mirrors
Behind every glance is judgment
Self surveying stars early in a woman’s life
Naked - be oneself; nude - be seen naked by others yet not as oneself, be seen an object, sights, body as disguise
Nakedness is not taken for granted in European oil painting as in archaic art (Le déjeuner sur l'herbe de Manet 草地上的午餐 by 马奈)
Susana and the elders
The judgment of Paris
The second person assumed - the stranger who is looking (La gran odalisca de Ingres 大宫女 by 安格尔)
The convention of not painting the hair: hair - the woman’s sexual passion —> has to be minimized so the spectator may feel that he has the monopoly of such passion (the only male is Cupid - a little boy; women seldom seen dancing but always languid, exhibiting a minimum of energy —> feed the appetite, not to have their own)
表现女性对男性的谄媚于19c public academic art达到顶峰
Dürer丢勒 ideal body - 身体部位的拼接 - 对个体的disrespect？
Ep03 财产与艺术
depicting sth in reality into a painting is like buying sth and put it into your house
Buy a painting is by the look it represents
Paintings show treasures, also become treasures
galleries - palace, bank
The value of art
Ownership - pride?
Real - solid, what you could put your hands on - the sense of ownership
European paintings serve a different kind of wealth, glorify not a static order of things, but to buy, furnish and to own
Gold leaf (mid ages) —> gold as frames, painting itself demonstrate what gold can buy, merchandise becomes the actual principal subject
Food - artist virtuosity & the owner’s wealth
Lifestock - pedigree (血统) emphasized, social pedigree of their owners, like furniture
Objects - 收藏品
Houses - buildings considered as landed property
Portait - portrait of the owners
Clothes, feathers, jewelry
Celebrate not the buyable, but records of the confidence of those to whom ownership bought confidence, power and worthiness
The bases of the confidence 优越感 - dignity of the sitter ‘I was an object of respect and envy’
Mythology and literature part of the specialized knowledge of the privilege minority - help them visualize themselves, settings for 猜谜游戏, 角色扮演游戏
The faculty of oil painting to celebrate property did play a certain role in landscape painting
反例：鲁本斯 城堡周围的风景 打破了歌颂私人财产的传统
维米尔 女子画像
Substantiality tangibility physical texture of objects
A painting on the wall is a mark of prosperity
伦勃朗的自画像 - 青年&老年：style and methods of tradition for the traditional purpose (good fortune, prestige, wealth) —> turn the tradition against itself, what is left only is the question of existence
The basic value of tradition win in the end
The oil painting is a medium of celebrating private possessions
Ep04 广告与艺术
Publicity and advertisement persuades us of transformation by showing us people who have apparently by transformed, and are as a result enviable - The state of being envied is what constitutes glamor - Publicity manufactures glamor
Glamor depends on looks, works through the eye and the mirror
Glamor is for everybody who cannot afford being not glamorous
Models taking place of goddess
without social envy, glamor cannot exist
envy becomes a common emotion, in a society that moved towards democracy and stopped halfway, envy becomes 阶级跃升的可能，但只是enjoyed by few
Connection between oil painting and publicity
Works of art are sometimes used to give prestige to publicity
Usually is less direct —> atmosphere, settings, pleasures, objects, poses, symbols of prestige, gestures, signs of love as techniques absorbed from oil paintings
Photography - texture and substantiality
oil paintings and publicity use many of the same references to celebrate the same qualities in things share many of the same ideals, the principle: you are what you have.
Difference: oil paintings begin with facts, what the owner has already have (but hide where the wealth comes from, the exploitation); Publicity appeals to a way of life that they think we aspire to, show a different life that can only be achieved through money. Publicity works on the anxiety of money urging each of us to scramble competitively to make more.
It promotes an illusion - a man’s ability to consume is directly related to his sexual ability
Play upon the fear of being undesirable, unenviable. It suggests you are inadequate as you are and consoles you with the promise of a dream
Behinds the dream is the very life of the people it addresses
The future defers while the interminable present
The more monotonous the present the more the imagination must seize upon the future
imagery public, dreams private, three kinds of such dreams:
Later tonight (happiness, good life)
skin dream, the surface you can touch 无暇的
The dream of a faraway place, distances without horizons
The side-effect of imagination
The philosophical system of publicity - exotic enough to be arresting but not close enough to us to offer a threat
Reality and unreality confront each other - an incomprehensible contrast
Belong to the same culture yet the fissure, the disconnection, the incoherence - reality becomes unrecognizable
What do words mean when juxtapose like this?
What surrounds publicity is we as we are - the dreams which invites us to enter them presented excludes us as we now are
Behind publicity are hidden desires and needs
Judge by your own experience
