From an Aeon online article:

Time brings new colour to old materials, and what makes Ways of Seeing so enduring might not be the same as what made it so electrically influential when it first appeared. We are now more aware of the fissures in the show, in its slight hesitations and indecisions, and in the hedges to what was otherwise such a freight train of an argument. The pictorial tradition of the female nude, Berger argues throughout the second episode, was not a celebration of humanist virtue but a fantasy of the acquisitive ‘male gaze’ (the term was coined a year later by Laura Mulvey).

At the start of the first TV episode of Ways of Seeing, John Berger takes a scalpel to Botticelli’s Venus and Mars. The opening beat of the programme is the audio of the incision – the blade’s rough abrasion on canvas – before the soundtrack settles into voiceover. ‘This is the first of four programmes,’ Berger says, ‘in which I want to question some of the assumptions usually made about the tradition of European painting. That tradition which was born about 1400, died about 1900.’

Ways of Seeing first aired on Sunday evenings on BBC2 at the start of 1972. It attracted few initial viewers but, through rebroadcasts and word of mouth, the show gathered steam. By the end of 1972, it had gone viral. People in London and New York argued about Berger’s ideas. When Penguin commissioned a paperback adaptation, the first two print runs sold out in months. Regularly assigned in art schools and introductory art history courses, Berger’s project has never really waned in popularity. That first episode now has close to 1.4 million views on YouTube, and the paperback regularly sits atop Amazon’s Media Studies bestseller list.

To read more: https://aeon.co/essays/john-bergers-ways-of-seeing-and-his-search-for-home?utm_source=Aeon+Newsletter&utm_campaign=5932250078-EMAIL_CAMPAIGN_2019_12_01_11_33&utm_medium=email&utm_term=0_411a82e59d-5932250078-70852327