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Only the bad artists of the nineteenth century were frightened by the invention of photography the good ones all welcomed it and used it.

Kenneth Clark

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Kenneth Clark
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Over and above the political, economic, sociological, and international implications of racial prejudices, their major significance is that they place unnecessary burdens upon human beings.
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You have no idea what portrait painters suffer from the vanity of their sitters.
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I just don't think the moon is going to be an adequate substitute for the fact that we haven't addressed ourselves to clearing up the slums.
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To hurry through the rise and fall of a fine, full sentence is like defying the role of time in human life.
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A racist system inevitably destroys and damages human beings it brutalizes and dehumanizes them, blacks and whites alike.
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The illustrator is essentially a reporter: his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time.
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Children who are treated as if they are uneducable almost invariably become uneducable.
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Opera, next to Gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical process.
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Racial prejudices are indication of a disturbed and potentially unstable society.
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Devotion to the facts will always give the pleasures of recognition adherence to the rules of design, the pleasures of order and certainty.
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In time of war all countries behave equally badly, because the power of action is handed over to stupid and obstinate men.
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Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation.
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Few people can look at a painting longer than it takes to peel an orange and eat it.
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The eye instinctively looks for analogies and amplifies them, so that a face imagined in the pattern of a wallpaper may become more vivid than a photograph.
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No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow - and if it does not do so it is bad art and false morals.
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Art...must do something more than give pleasure: it should relate to our own life so as to increase our energy of spirit.
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The history of art cannot be properly understood without some reference to the history of science. In both we are studying the symbols by which man affirms his mental scheme, and these symbols, be they pictorial or mathematical, a fable or formula, will reflect the same changes.
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People sometimes tell me that they prefer barbarism to civilisation. I doubt if they have given it a long enough trial. Like the people of Alexandria, they are bored by civilisation but all the evidence suggests that the boredom of barbarism is infinitely greater.
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Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed - can even be enhanced - by description.
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Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs - it was one of the things that gave him so much sympathy with dancers.
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