Review of John Berger’s Ways of Seeing

John Berger’s Ways of Seeing is one of those rare books that completely changes the way you look at the world — quite literally. Originally published in 1972 alongside a BBC television series of the same name, it’s often considered a starting point for anyone interested in art, media, or visual culture. But even over 50 years later, it feels fresh and relevant — especially if you’re approaching it from a visual studies perspective.

What makes Ways of Seeing so powerful is its ability to take complex ideas and make them accessible. Berger isn’t just talking about paintings or traditional “fine art.” He’s inviting us to think deeply about how we see — how images work, what they mean, and how they shape the way we understand the world around us. For students and scholars of visual studies, that’s exactly the kind of critical thinking the field is built on.

One of Berger’s key arguments is that seeing isn’t just a passive act. We don’t just open our eyes and absorb the truth. What we see is shaped by what we already know, what we’ve been taught, and the culture we live in. This idea feels especially relevant today, in a world flooded with images — from social media to advertising to film. Visual studies is all about unpacking those images, asking what they’re really doing, and understanding how they influence us, even when we don’t realise it.

A large part of the book focuses on the European oil painting tradition. Berger argues that, for centuries, these paintings were used to show off wealth and status. They weren’t just beautiful objects — they were about power. A painting of a man surrounded by expensive objects wasn’t just art; it was a way of saying, “Look at everything I own.” Berger draws a strong connection between this and modern-day advertising, where products are used to promise happiness, success, and beauty — often in manipulative ways.

Where Berger’s voice really stands out is in his analysis of how women have been depicted in art. He introduces the idea that women in paintings — especially nudes — were rarely painted for themselves, but for a male viewer. He writes, “Men act and women appear,” highlighting a dynamic that still exists in today’s visual culture. This was a bold argument in the 1970s, and it has gone on to inspire generations of feminist thinkers and critics. In visual studies, the concept of the “male gaze” is central — and Berger helped lay the groundwork for that conversation.

Another major idea in the book is the impact of image reproduction — something that’s only grown more important in the digital age. Berger talks about how, once images can be copied and shared (through photography, for example), they lose some of their original meaning. A painting in a church has a different impact than the same painting on a postcard or a laptop screen. Visual studies takes this idea further today, looking at how images circulate on social media, how they’re edited, reframed, or used in new contexts — all of which change what they mean.

What’s particularly clever about Ways of Seeing is how Berger practices what he preaches. He doesn’t just tell us how to think about images — he shows us. The book is filled with pictures, often presented without captions, to force us to look closely and form our own interpretations. It’s an invitation to become an active viewer, not a passive one — a key goal in visual studies education.

Berger also draws attention to how advertising, like traditional art, manipulates us. He argues that advertising is today’s dominant visual language — one that creates desire by constantly telling us we’re not good enough unless we buy something. When you think about Instagram, YouTube ads, or celebrity endorsements, it’s clear that Berger’s critique is still incredibly relevant. In visual studies, this connection between images and consumer culture is essential — and Berger was ahead of his time in recognising it.

That said, Ways of Seeing isn’t without its limitations. Some critics feel that Berger oversimplifies certain aspects of art history or that his Marxist and feminist perspectives leave out other viewpoints. But even so, the book’s real strength lies in its ability to spark conversation. It doesn’t claim to have all the answers — instead, it gives you the tools to start asking better questions.

In the end, Ways of Seeing isn’t just a book about art — it’s a book about how to look. It teaches us that seeing is never innocent, that every image has a context and a purpose, and that we have the power to question what we’re shown. From a visual studies perspective, this is exactly the kind of thinking that pushes the field forward. Berger’s work encourages us to dig deeper, to be more critical, and to never take images at face value.