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Original paintings are silent and still in a sense that information never is. Even a reproduction hung on a wall is not comparable in this respect for in the original the silence and stillness permeate the actual material, the paint, in which one follows the traces of the painter’s immediate gestures. This has the effect of closing the distance in time between the painting of the picture and one’s own act of looking at it What we make of that painted moment when it is before our eyes depends upon what we expect of art, and that in turn depends today upon how we have already experienced the meaning of paintings through reproductions. (p. 158)
–John Berger Ways of Seeing
While Berger describes original paintings as silent in this passage, it is clear that these paintings begin to speak if one approaches them properly, if one learns to ask the right question of the past. Berger demonstrates one route of approach, for example, in his reading of the Hals paintings, where he asks questions about the people and objects and their relationship to the painter and the viewer. What the paintings might be made to say, however, depends on the viewer’s expectations, his or her sense of the questions that seem appropriate or possible. Berger argues that because of the way art is currently displayed, discussed, and reproduced, the viewer expects only to be mystified.
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