1. Art in the mechanical age of reproduction, class conscious
2. The sexual politics of meat, absent referent and commodification/objectification of women
3. Nude Vs naked in European painting 
4. Age, birth/death, decadence? Men as the spectator-owner if art. Male gaze? The European obsession with youthfulness and virality. I found this picture essay difficult to interpret.
5. The European oil painting tradition, materialisam, capitalist class ownership, owner-spectator viewer, static
6. The objectification of living things (animals and human such as enslaved people as accessories or tools serving white Europeans), decadence, women as temptresses. Anything that's not a white European man is depicted morally bad? Centrality of white supremacy and patriachy?  I found this picture essay difficult to interpret.
7. Low art, advertisement being a continuity of language of oil painting, borrowing its legitimacy in order to sell, fucntions differently to oil painting as is future focused rather than static.Spectator owner to spectator buyer and consumer.

"The way we see things is affected by what weknow or what we believe."

"Images were first made to conjure up the appearance of something that was absent. Gradually it became evident that an image could outlast what it represented; it then howed how something or somebody had once looked - and thus by implication how the subject has once been seen by other people."

"History always constitutes the relation between a present and its past. [when speaking of mystification]."

"The convention of perspective, which is unique to Eurpean art and which was first established in the early Renaissance, centres everything on the eye of the beholder...According to the convention of perspective there is no visual repriciocity."

"Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object - and particularly an object of vision: a sight."

"To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognised for oneself. A naked bosy has to be seen as an object to become a nude. Nakedness reveals itself. Nudity is placed on display."

"But the essential way of seeing women, the essentail use to which their images are put, has not changed. Women are depicted in a quite different way to men - not because the feminie is different to the masculine - but because the 'ideal' spectator is always assumed to be mal and the image of the woman is designed to flatter him."

"The art of any culture will show a wide differential of talent. But in not other culture is the difference between 'masterpiece' and average work so large as in the tradition of the oil painting... the difference is not a question of skill or imagination, but also of morale. The average work...was a work produced more or less cynically: that is to say the values it was nominally expressing were less meaningful ot the painter than the finishing of the commission or the selling of his product... Hack work is not the result of either clumsiness or provincialism; it is the results of the market making more insistent demand than the art."

"Until very recently...a certain moral value was ascribed to the study of classics. This was because the classics...supplied the higher strata of the ruling class with a system of references for the forms of their own idealised behaviour...They offered examples of how the heightened moment is life...should be loved, or at least should be seen to be lived. Yet why are these picture so vacuous and perfunctory in their evocation of the scenes they are meant to recreate? They do not need to stimulate the imagination... this would have served their purpose less well. Their purpose was not to transport their spectator-owners into new experience, but to embellish such experience as they already possessed."

"it is important not to confuse publicity with the pleasure of benefits to be enjoyed from the thing it advertises...publicity can never really afford to be about the product or opportunity it is proposing to the buyer who is not yet enjoying it. Publicity is never a celebration of a pleasure-in-itself. Publicity is about the future buyer. If offers him an image of himself made glamorous by the product or opportunity it is trying to sell. the image then makes him envious of himself as he might be. What makes this self which-he-might-be envious? The envy of others. Publicity is about social relations, not objects."

"Publicity is the culture of the consumer society... There are several reasons why these images use the language of oil painting. Oil painting, before it was anything else, was a celebration of private property. As an art form is derived from the principle that you are what you have."

"The purpose of publicity is to make the spectator marginally dissatisfied with his present way of life. Not with the way of life of society, but with his own within it. It suggets that if he buys what it is offering, his life will become better."

"Capitalism survives by forcing the majority, whom it exploits, to define their own interests as narrowly as possible. This was then once achieved by extensive depreivation. Today in the developed countries it is being achieved by imposing a false standard of what is and what is not desirable."